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Miss Goulding Exploring how the ghosts are used to influence Scrooge's transformation

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Summary of William Shakespeare’s Merchant of Venice: Shylock asks for a pound of flesh as part of a loan contract (weird), Bassanio agrees to it (weirder), and Portia saves the day by cross-dressing and pretending to practice the law (perfectly normal).

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https://youtu.be/Blg7VPy2rrs?si=-mjgayDqw_ujH3O2

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Miss Goulding comparing London and Exposure

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AQA GCSE English Section B: A Christmas Carol - PMT

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Summary notes, character profiles, themes, glossary,flashcards, and essay writing guides for AQA English GCSE Section B: A Christmas Carol

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Charles Dickens: A Sympathiser with the Oppressed

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Charles Dickens is more than just a giant of the literature world. He also brought the plight of the poor and needy to the front and centre of British politics.

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How Charles Dickens’s A Christmas Carol anticipated the psychology of Freud in its tale of childhood trauma

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Scrooge was a neglected child whose trauma haunted him into old age.

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How Ghost Stories Became a Christmas Tradition in Victorian England | HISTORY

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Stories featuring the supernatural were all the rage during the darkest time of the year.

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A Christmas Carol by Charles Dickens - Full Audiobook

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How to write a top grade essay on A Christmas Carol | Joy and happiness (GCSE 2021)

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How does Dickens present poverty and the Cratchits in A Christmas Carol? (TOP GRADE SAMPLE ESSAY)

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Wordsworth’s Prelude – Boat-stealing | English Literature –  Poetry Between the Lines: The Romantics

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Percy Bysshe Shelley’s  Ozymandias | English Literature – Poetry Between the Lines: The Romantics

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William Blake’s London | English Literature – Poetry Between the Lines: The Romantics

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'Checking Out Me History' by John Agard | English Literature - Poets in  Person

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Romanticism | Definition, Characteristics, Artists, History, Art, Poetry, Literature, & Music

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Romanticism is the attitude that characterized works of literature, painting, music, architecture, criticism, and historiography in the West from the late 18th to the mid-19th century. It emphasized the individual, the subjective, the irrational, the imaginative, the personal, the emotional, and the…

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Romanticism was a literary movement that began in the late 18th century, ending around the middle of the 19th century-although its influence continues to this day. Marked by a focus on the individual (and the unique perspective of a person, often guided by irrational, emotional impulses), a respect for nature and the primitive, and a celebration of the common man, Romanticism can be seen as a reaction to the huge changes in society that occurred during this period, including the revolutions that burned through countries like France and the United States, ushering in grand experiments in democracy.

Key Takeaways: Romanticism in Literature

Romanticism Definition

The term Romanticism does not stem directly from the concept of love, but rather from the French word romaunt (a romantic story told in verse). Romanticism focused on emotions and the inner life of the writer, and often used autobiographical material to inform the work or even provide a template for it, unlike traditional literature at the time.

Romanticism celebrated the primitive and elevated "regular people" as being deserving of celebration, which was an innovation at the time. Romanticism also fixated on nature as a primordial force and encouraged the concept of isolation as necessary for spiritual and artistic development.

Characteristics of Romanticism

Romantic literature is marked by six primary characteristics: celebration of nature, focus on the individual and spirituality, celebration of isolation and melancholy, interest in the common man, idealization of women, and personification and pathetic fallacy.

Celebration of Nature

Romantic writers saw nature as a teacher and a source of infinite beauty. One of the most famous works of Romanticism is John Keats' (1820):

Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,-
While barred clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;

Keats personifies the season and follows its progression from the initial arrival after summer, through the harvest season, and finally to autumn's end as winter takes its place.

Focus on the Individual and Spirituality

Romantic writers turned inward, valuing the individual experience above all else. This in turn led to heightened sense of spirituality in Romantic work, and the addition of occult and supernatural elements.

The work of Edgar Allan Poe exemplifies this aspect of the movement; for example, tells the story of a man grieving for his dead love (an idealized woman in the Romantic tradition) when a seemingly sentient Raven arrives and torments him, which can be interpreted literally or seen as a manifestation of his mental instability.

Celebration of Isolation and Melancholy

Ralph Waldo Emerson was a very influential writer in Romanticism; his books of essays explored many of the themes of the literary movement and codified them. His 1841 essay Self-Reliance is a seminal work of Romantic writing in which he exhorts the value of looking inward and determining your own path, and relying on only your own resources.

Related to the insistence on isolation, melancholy is a key feature of many works of Romanticism, usually seen as a reaction to inevitable failure-writers wished to express the pure beauty they perceived and failure to do so adequately resulted in despair like the sort expressed by Percy Bysshe Shelley in A Lament:

O world! O life! O time!
On whose last steps I climb.
Trembling at that where I had stood before;
When will return the glory of your prime?
No more-Oh, never more!

Interest in the Common Man

William Wordsworth was one of the first poets to embrace the concept of writing that could be read, enjoyed, and understood by anyone. He eschewed overly stylized language and references to classical works in favor of emotional imagery conveyed in simple, elegant language, as in his most famous poem I Wandered Lonely as a Cloud:

I wandered lonely as a Cloud
That floats on high o'er vales and Hills,
When all at once I saw a crowd,
A host, of golden Daffodils;
Beside the Lake, beneath the trees,
Fluttering and dancing in the breeze.

Idealization of Women

In works such as Poe's The Raven, women were always presented as idealized love interests, pure and beautiful, but usually without anything else to offer. Ironically, the most notable novels of the period were written by women (Jane Austen, Charlotte Brontë, and Mary Shelley, for example), but had to be initially published under male pseudonyms because of these attitudes. Much Romantic literature is infused with the concept of women being perfect innocent beings to be adored, mourned, and respected-but never touched or relied upon.

Personification and Pathetic Fallacy

Romantic literature's fixation on nature is characterized by the heavy use of both personification and pathetic fallacy. Mary Shelley used these techniques to great effect in Frankenstein:

Its fair lakes reflect a blue and gentle sky; and, when troubled by the winds, their tumult is but as the play of a lively infant, when compared to the roarings of the giant ocean.

Romanticism continues to influence literature today; Stephenie Meyers' Twilight novels are clear descendants of the movement, incorporating most of the characteristics of classic Romanticism despite being published a century and half after the end of the movement's active life.

The Editors of Encyclopedia Britannica. "Romanticism." Encyclopedia Britannica, Encyclopedia Britannica, Inc., 19 Nov. 2019, https://www.britannica.com/art/Romanticism.

Parker, James. "A Book That Examines the Writing Processes of Two Poetry Giants." The Atlantic, Atlantic Media Company, 23 July 2019, https://www.theatlantic.com/entertainment/archive/2019/07/how-two-literary-giants-wrote-their-best-poetry/594514/.

Alhathani, Safa. "EN571: Literature & Technology." EN571 Literature Technology, 13 May 2018, https://commons.marymount.edu/571sp17/2018/05/13/analysis-of-romanticism-in-frankenstein-through-digital-tools/.

"William Wordsworth." Poetry Foundation, Poetry Foundation, https://www.poetryfoundation.org/poets/william-wordsworth.

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Romanticism in Literature: Definition and Examples

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Romanticism was a literary movement in the 18th and 19th centuries, but its tenets are still influencing writers today.

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Poetry Essay - Essay Writing Help - GCSE and A Level Resources

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Poetry Essay - Remains and War Photographer

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Here is an exemplar AQA Power and Conflict poetry essay - Grade 9 GCSE standard - based upon the AQA English Literature exam (November 2020). The essay compares two poems from the Power and Conflict collection (AQA exam board) and would achieve full mark

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About the play | The Merchant of Venice | Royal Shakespeare Company

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Shakespeare's The Merchant of Venice is a story of prejudice, social injustice, money and love.

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The Merchant of Venice | Plot, Summary, Characters, & Facts

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The Merchant of Venice, comedy in five acts by William Shakespeare, written about 1596–97. In the play, a merchant named Antonio borrows money from Shylock, a Jewish moneylender, and is unable to repay the loan. There has been debate over whether Shakespeare displays anti-Semitism in his portrayal of Shylock.

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The Merchant of Venice Character Descriptions | Shakespeare Learning Zone | Royal Shakespeare Company

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Learn more about Antonio, Bassanio, Portia, Shylock and who's who among the other important characters.

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The Merchant of Venice: Pre-reading, Context and Themes | Shakespeare Play by Play

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When was Shakespeare's The Merchant of Venice was first performed? What stories inspired the play?

The Trial Scene, 'The Merchant of Venice', Act IV, Scene 1. Oil on canvas.

Dates

On 22 July 1598 an entry was made in the Stationers' Register for 'a booke of the Marchaunt of Venyce or otherwise called the Iewe of Venyce'. At this time, only members of the Stationer's Company were permitted to publish material for sale: any member wishing to print a book had to enter its title in advance in the Register.

In September that same year, Francis Meres's Palladis Tamia was also entered in the Register. Meres's book includes a list of Shakespeare's plays, as examples of the excellence of English drama - The Merchant of Venice in one of the six comedies listed.

Antonio's reference in the play to 'my wealthy Andrew' has been interpreted as an allusion to the St Andrew or San Andres, the rich Spanish galleon captured in Cadiz harbour by the Earl of Essex in the summer of 1596. This captured prize was much in the news; it brought great wealth to the Queen's coffers and became one of the largest ships in her service. This allusion means that the play cannot have been written before the late summer of 1596.

1596-7 seems the likeliest dates for the composition of The Merchant of Venice, at which time Shakespeare was also working on King John and Henry IV, Part I. The play was first printed in a quarto edition in 1600.

Sources

Il Pecorone

There are many ancient legends and folk-tales from around the world in which a bargain is struck with a bond of human flesh as security. One version of the story is told by the Italian, Ser Giovanni Fiorentino, in his collection of tales, Il Pecorone (which means 'the big sheep' or 'the simpleton'). He wrote this in the late fourteenth century and it was printed in 1558. This Italian (and untranslated) version is Shakespeare's main source for his play.

According to Ser Giovanni, the story begins with a wealthy merchant, Ansaldo, equipping his god-son with a richly laden ship to trade abroad. The young man, Giannetto, finds himself in the port of Belmont where he tries to win the hand of the Lady. Success can only be won if the wooer manages to spend a whole night with her; failure is punished with the loss of all possessions. Twice Giannetto tries and fails, each time calling on his god-father to provide again for him. Only at the third attempt does he have the help of a young woman who confides that the wine offered to him is drugged. With this knowledge, Giannetto is able to win the lady and live at his ease in Belmont, forgetting that his newfound happiness has been bought by his god-father's generosity. Ansaldo could only afford to help Giannetto make his third voyage to Belmont by borrowing from a Jew, promising a pound of his flesh if he fails to repay the money.

When the unpaid debt falls due, Giannetto hurries back to Venice with money from his wife but the Jew refuses to be bought off. It is only when the Lady appears in court, in the disguise of a male lawyer, that the Jew is confounded. As she points out to him, if he takes more or less than a pound or drops any blood, his own life is forfeit. The Jew tears up the bond in frustration and Giannetto reluctantly responds to the lawyer's request of the ring given to him by his wife as a reward for his victory. Giannetto and Ansaldo go to Belmont where the Lady is very angry at her husband's loss of her ring. Finally she reveals the truth and Ansaldo is matched in marriage with the young woman who helped Giannetto avoid the drugged wine and win his own wife.

Gesta Romanorum

Shakespeare changes the way in which his Lady of Belmont is to be won. Instead of gaining access to the Lady's bed, his successful wooer must make the right choice from among three caskets. Again, this kind of test is an age-old motif in fairy-tales and legends. The most recent English version available to Shakespeare is that in the 1595 translation of the medieval collection of stories, the Gesta Romanorum.

Zelauta (The Fountain of Fame)

Shakespeare also trebles the pairs of wooers in the story and leaves his rich merchant figure alone at the end of the play. His confident handling of a complicated and multi-stranded plot is his own achievement but still he could learn from the fast-paced Italian comedies of love, intrigue and disguise written in the sixteenth century. Antony Munday's Zelauta (or The Fountain of Fame) printed in 1580 also shows an influence and may in turn have influenced Shakespeare. Munday tells the story of two friends, in love with two girls, one of whom is the daughter of a rich usurer. They pledge their right eyes in order to borrow money from the usurer. When the usurer brings them to court, they are saved by the wit of the young women, hidden behind their male disguise as lawyers. They too use the argument that the usurer must not shed a drop of blood in his extraction of his fleshly payment.

The Jew

Shakespeare was not the first Elizabethan playwright to place a Jew at the centre of his drama. In 1579, Stephen Gosson referred to a play called The Jew which he describes as showing 'the greediness of worldly choosers, and the bloody minds of usurers'. That play has not survived, unlike Christopher Marlowe's The Jew of Malta, which was first performed in 1589. Marlowe's play was a great success and must have haunted Shakespeare's imagination long after its first performance. Barabas, the unscrupulous cynic of Marlowe's grimly comic drama, is very different from Shylock, although both have nubile daughters and heaps of gold.

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Dates and sources | The Merchant of Venice | Royal Shakespeare Company

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When was Shakespeare's The Merchant of Venice was first performed? What stories inspired the play? On 22 July 1598 an entry was made in the Stationers' Register for 'a booke of the Marchaunt of Venyce or otherwise called the Iewe of Venyce'.

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is a comedy. Comedies traditionally end in marriage, and on the way they examine the social networks in which marriage is involved: the relations among families, among friends, among parents and children, and what in Shakespeare's society were the all-important ties of money and property. Comedies also create onstage images of closed communities of right-thinking people, from which outsiders are excluded by being laughed at. If The Merchant of Venice has always seemed one of Shakespeare's more problematic and disturbing comedies, this may be because it examines the networks of society more closely than usual, and treats outsiders-one in particular-with a severity that seems to go beyond the comic.

In the interweaving of the play's stories we see a chain of obligations based on money. Bassanio needs money to pay his debts, and plans to get it by marrying the rich heiress Portia. To make money he needs to borrow money-from his friend Antonio, who borrows it from Shylock, who borrows it, according to the patter of his trade, from Tubal. Once Bassanio has won Portia she becomes part of the network, and the obligations become more than financial. She imposes on herself the condition that before her marriage is consummated, Antonio must be freed from his bond to Shylock; as she tells Bassanio, "never shall you lie by Portia's side / With an unquiet soul" ( 3.2.318-19). She takes on herself the task of freeing Antonio. As Bassanio must journey to Belmont and answer the riddle of the caskets, Portia must journey to Venice and answer the riddle of Shylock's bond. Antonio thus becomes "bound" ( 4.1.425) to the young doctor (Portia) who saved him, and the only payment the doctor will take is Bassanio's ring. Antonio now, in effect, has to borrow from Bassanio to pay Portia: it is at Antonio's insistence that Bassanio reluctantly gives away the ring. Yet the ring represents Bassanio's tie of loyalty to Portia, the husband's obligation to be bound exclusively to his wife; she gives the ring, as Shylock gives money, with conditions attached:

Which, when you part from, lose, or give away,

Let it presage the ruin of your love,

And be my vantage to exclaim on you.

The line of obligation runs, like the play itself, from Venice to Belmont, then from Belmont to Venice, and back to Belmont again. The ring exemplifies the paradox of marriage: it binds two people exclusively to each other, yet it does so within a social network in which they have inevitable ties with other people, ties on which the marriage itself depends. Portia and Bassanio depend on Antonio, who is Portia's chief rival for Bassanio's affection. The story of the ring is based on paradoxes: Bassanio, in giving it to the young "doctor," is betraying Portia at her own request, and giving her back her own. In the final scene Portia gives the ring to Antonio, who returns it to Bassanio, thus participating in a symbolic exchange that cements the marriage relationship from which he is excluded. As Portia's ring comes back to Portia, then back to Bassanio, the line of obligation becomes at last a circle, the symbol at once of perfection and exclusion.

Portia is also bound to her father. When we first see her she is chafing at the way her father has denied her freedom of choice in marriage: "So is the will of a living daughter curbed by the will of a dead father" ( 1.2.24-25). But by the end of that scene she is reconciled to her father's will when she hears that her unwanted suitors have departed rather than face the test; and of course Bassanio, the man she wants-the man who visited Belmont in her father's time ( 1.2.112-21)-is the winner. The will of the dead father and the will of the living daughter are one. Portia sees the value of the test from her own point of view when she tells Bassanio, "If you do love me, you will find me out" ( 3.2.43), and in the moment of victory he insists that to have satisfied her father's condition is not enough "Until confirmed, signed, ratified by you" ( 3.2.152). The dead father is satisfied, but theatrically the emphasis falls on the satisfaction of the living daughter.

In the story of Shylock and Jessica all these emphases are reversed. Jessica's loyalties are divided. She recognizes a real obligation to her father-"Alack, what heinous sin is it in me / To be ashamed to be my father's child?" ( 2.3.16-17)-and she hopes her elopement will "end this strife" ( 2.3.20). For her it does (with reservations we will come to later); but Shakespeare puts the focus on the pain and humiliation it causes Shylock. The vicious taunts he endures from the Venetians identify him as an old man who has lost his potency, "two stones, two rich and precious stones" ( 2.8.20-21), and his cry, "My own flesh and blood to rebel!" draws Solanio's cruel retort, "Out upon it, old carrion! Rebels it at these years?" ( 3.1.34 -36). While Portia's father retains his power beyond the grave, Shylock is mocked as an impotent old man. We may find Lancelet Gobbo's teasing of his blind father cruel; while Shakespeare's contemporaries had stronger stomachs for this sort of thing than we do, Shakespeare's own humor is not usually so heartless. With the taunting of Shylock he goes further: the jokes of Salarino and Solanio, like those of Iago, leave us feeling no impulse to laugh.

This brings us to the problem of the way comedy treats outsiders, and to the cruelty that so often lies at the heart of laughter. Portia begins her dissection of her unwanted suitors "I know it is a sin to be a mocker, but . . ." ( 1.2.57-58) and goes on to indulge that sin with real gusto. The unwanted suitors are all foreigners, and are mocked as such; only the Englishman, we notice, gets off lightly. (His fault, interestingly, is his inability to speak foreign languages; in one of the play's more complicated jokes, the insularity of the English audience, which the rest of the scene plays up to, becomes itself the target of laughter.) Morocco and Arragon lose the casket game for good reasons. Morocco chooses the gold casket because he thinks the phrase "what many men desire" is a sign of Portia's market value. This is a tribute, but not the tribute of love. Arragon thinks not of Portia's worth but of his own. Besides, Morocco and Arragon are foreign princes, and Morocco's foreignness is compounded by his dark skin, which Shakespeare emphasizes in a rare stage direction specifying the actor's costume: "a tawny Moor all in white" ( 2.1.0 SD). Portia's dismissal of him, "Let all of his complexion choose me so" ( 2.7.87), is for us an ugly moment. The prejudice that is, if not overturned, at least challenged and debated in Titus Andronicus and Othello is casually accepted here.

The most conspicuous problem, of course, is Shylock, and here we need to pause. The Merchant of Venice was written within a culture in which prejudice against Jews was pervasive and endemic. It can be argued that this goes back to the earliest days of Christianity, when the tradition began of making the Jews bear the guilt of the Crucifixion. Throughout medieval and early Renaissance Europe the prejudice bred dark fantasies: Jews were accused, for example, of conducting grotesque rituals in which they murdered Christian children and drank their blood. The story of a Jew who wants a pound of Christian flesh may have its roots in these fantasies of Jews violating Christian bodies. Shylock's profession of usury is also bound up with his race: barred from other occupations, the Jews of Europe took to moneylending. Antonio's disapproval of lending money at interest echoes traditional Christian teaching (Christian practice was another matter). Shylock's boast that he makes his gold and silver breed like ewes and rams would remind his audience of the familiar argument that usury was against the law of God because metal was sterile and could not breed. Not just in his threat to Antonio, but in his day-to-day business, Shylock would appear unnatural.

Prejudice feeds on ignorance; since the Jews had been expelled from England in 1290, Shakespeare may never have met one. (There were a few in London in his time, but they could not practice their religion openly.) Given that the villainy of Shylock is one of the mainsprings of the story, it would have been far more natural for Shakespeare to exploit this prejudice than resist it. Many critics and performers, however, have insisted that he did resist it. His imagination, so the argument runs, worked on the figure of Shylock until it had created sympathy for him, seeing him as the victim of persecution. The great Victorian actor Henry Irving played him as a wronged and dignified victim, representative of a suffering race. Shylock's famous self-defense, "Hath not a Jew eyes? Hath not a Jew hands . . .?" ( 3.1.57-58), has been taken out of context and presented as a plea for the recognition of our common humanity. In context, however, its effect is less benevolent. Shylock's plea is compelling and eloquent, but he himself uses it not to argue for tolerance but to defend his cruelty: "The villainy you teach me I will execute, and it shall go hard but I will better the instruction" ( 3.1.70-72). Gratiano's taunt, "A Daniel still, say I! A second Daniel!- / I thank thee, Jew, for teaching me that word" ( 4.1.354 -55), shows that Gratiano, along with the word "Daniel," has also picked up from Shylock, without knowing it, the word "teach," and the echo is a terrible demonstration of the ways we teach each other hate so that prejudice moves in a vicious circle.

Does the play itself break out of this circle? There is little encouragement in the text to think so. In other plays Shakespeare casually uses the word "Jew" as a term of abuse, and this usage is intensified here. The kindest thing Lorenzo's friends can find to say about Jessica is that she is "a gentle and no Jew" ( 2.6.53). We are aware of the pain Shylock feels in defeat; but the play emphasizes that he has brought it on himself, and no one in the play expresses sympathy for him, just as no one-except Shylock-ever questions Antonio's right to spit on him. Given the latitude of interpretation, there are ways around the problem. Critics and performers alike have found sympathy for Shylock in his suffering, and have attacked the Christians' treatment of him. But these readings are allowed rather than compelled by the text, and to a great extent they go against its surface impression.

It has to be said that many people who normally love Shakespeare find The Merchant of Venice painful. It even has power to do harm: it has provoked racial incidents in schools, and school boards have sometimes banned it. One may reply that the way to deal with a work one finds offensive is not censorship but criticism; in any case, everyone who teaches or performs the play needs to be aware of the problems it may create for their students and audiences, and to confront those problems as honestly as they can. At best, there are legitimate interpretations that control or resist the anti-Semitism in the text. At worst, it can be an object lesson showing that even a great writer can be bound by the prejudices of his time. To raise this kind of question is of course to go beyond the text as such and to make the problem of Shylock loom larger than it would have done for Shakespeare. In discussions of this kind, the objection "Why can't we just take it as a play?" is often heard. But we cannot place Shakespeare in a sealed container. He belonged to his time, and, as the most widely studied and performed playwright in the world, he belongs to ours. He exerts great power within our culture, and we cannot take it for granted that this power is always benevolent.

To return to the text, and to explore the ramifications of the figure of Shylock a bit further: Shylock, Morocco, and Arragon are not the play's only losers. The group, paradoxically, includes Antonio, who is the center of so much friendship and concern. In the final scene he is a loner in a world of couples, and the sadness he expressed at the beginning of the play does not really seem to have lifted. He resists attempts to make him reveal his secret; but when to Solanio's "Why then you are in love" he replies "Fie, fie!" ( 1.1.48), we notice it is not a direct denial. Solanio himself later makes clear the depth of Antonio's feeling for Bassanio: "I think he only loves the world for him" ( 2.8.52). In the trial scene Antonio tells Bassanio to report his sacrifice and bid Portia "be judge / Whether Bassanio had not once a love" ( 4.1.288-89). Antonio has not only accepted Bassanio's marriage, he has helped make it possible-yet there is a touch of rivalry here. In the trial his courageous acceptance of death shades into an actual yearning for it, and in the final restoration of his wealth there is something restrained and cryptic. Portia will not tell him how she came by the news that his ships have been recovered; his own response, "I am dumb" ( 5.1.299), has the same curtness as Shylock's "I am content" ( 4.1.410), and the same effect of closing off conversation. Whether we should call Antonio's love for Bassanio "homosexual" is debatable; the term did not exist until fairly recently, and some social historians argue that the concept did not exist either. Our own language of desire and love does not necessarily apply in other cultures. What matters to our understanding of the play is that Antonio's feeling for Bassanio is not only intense but leaves him excluded from the sort of happiness the other characters find as they pair off into couples. This gives Antonio an ironic affinity with his enemy Shylock: both are outsiders. Many current productions end with Antonio conspicuously alone as the couples go off to bed.

Another character who is in low spirits at the end of some productions of The Merchant of Venice is Jessica. There is less warrant for this in the text, apart from her line "I am never merry when I hear sweet music" ( 5.1.77). Jessica is a significant case of a character who has broken the barrier between outsider and insider, joining a group (the Christians) to which she did not originally belong. She is welcomed, and seems at ease in her new world, but Lancelet Gobbo, the plainspoken and sometimes anarchic clown of the play, raises doubts about the efficacy of her conversion-she is damned if she is her father's daughter, and damned if she isn't ( 3.5.1-25)-and about its economic consequences: "This making of Christians will raise the price of hogs" ( 3.5.22 -23). In a play in which money counts for so much, this is a very pointed joke. Lancelet uses his clown's license to raise the question of whether Jessica will ever be fully accepted in Christian society. (His own contribution to race relations has been to get a Moor pregnant, and his reference to her does not sound affectionate.) Jessica's uneasiness at going into male disguise could suggest a worry about the deeper change she is making in her nature.

Her uneasiness also makes a revealing contrast with Portia's attitude to her disguise, and suggests there may be a parallel between the two women. Given her easy dominance of every scene in which she appears, it may seem odd to think of Portia as an outsider. But she is a woman in a society whose structures are male-centered and patriarchal. She greets her marriage with a surrender of herself and her property to a man who, like her father, will have full legal control over her:

Myself, and what is mine, to you and yours

Is now converted. But now I was the lord

Of this fair mansion, master of my servants,

Queen o'er myself; and even now, but now,

This house, these servants, and this same myself

Are yours, my lord's.

Yet she continues to dominate Bassanio, and more than that: like Jessica, she uses male disguise to enter another world, the exclusive male club (as it then was) of the legal profession. Unlike Jessica, she moves into this new world with confidence. Her mockery of swaggering young men as she plans her disguise is irrelevant to the story but seems to answer a need in the character to poke fun at the sex whose rules she is about to subvert. Not for the only time in Shakespeare, we see a stage full of men who need a woman to sort out their problems.

Portia may also be seen as bringing fresh air from Belmont into the sea-level miasma of Venice, and readings of the play have often been constructed around a sharp opposition between the two locations, between the values of Portia and the values of Shylock. Shakespeare, however, will not leave it at that; there are constant echoes back and forth between the play's apparently disparate worlds. Portia gives a ring to Bassanio, who gives it away; Leah gave a ring to Shylock, and Jessica steals it. Keys lock Shylock's house and unlock the caskets of Belmont. Portia calls Bassanio "dear bought" ( 3.2.326) and Shylock uses almost the same words for his pound of flesh, which is "dearly bought" ( 4.1.101). Shylock's proverb, "Fast bind, fast find" ( 2.5.55), could be a comment on the way the women use the rings to bind the men to them. His claim on Antonio's body is grotesque, but the adultery jokes of the final scene remind us that married couples also claim exclusive rights in each other's bodies. Marriage is mutual ownership, and Shylock's recurring cry of "mine!" echoes throughout the play.

The final images of harmony are a bit precarious. The moonlight reminds Lorenzo and Jessica of stories of tragic, betrayed love, in which they teasingly include their own. These stories are stylized and distanced, but not just laughed off as the tale of Pyramus and Thisbe is in A Midsummer Night's Dream. The problem of the rings is laughed off, but there is some pain and anxiety behind the laughter. The stars are "patens of bright gold" ( 5.1.67)-that is, plates used in the Eucharist which are also rich material objects. The play's materialism touches even the spiritual realm, and Lorenzo's eloquent account of the music of the spheres ends with a reminder that "we cannot hear it" ( 5.1.73). When Portia describes the beauty of the night, she creates a paradox: "This night methinks is but the daylight sick; / It looks a little paler" ( 5.1.137 -38). So, as we watch the lovers go off to bed, we may think of their happiness, or of the human cost to those who have been excluded; we may wonder how much it matters that this happiness was bought in part with Shylock's money. A brilliant night, or a sickly day? We may feel that this is another harmony whose music eludes us. Or we may conclude that the happiness is all the more precious for being hard-won, and all the more believable for the play's acknowledgment that love is part of the traffic of the world.

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A Modern Perspective: The Merchant of Venice | Folger Shakespeare Library

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An Inspector Calls - Characters overview - Characters - AQA - GCSE English Literature Revision - AQA - BBC Bitesize

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Revise and learn about the characters in J B Priestley's An Inspector Calls with BBC Bitesize GCSE English Literature (AQA).

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https://www.sparknotes.com/shakespeare/merchant/summary/

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The 10 Most Important Quotes in The Merchant of Venice

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https://www.kibin.com/essay-examples/english/william-shakespeare-944/the-merchant-of-venice-3200

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William Shakespeare’s ‘The Merchant of Venice’ Analysis

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Click Revision’s complete season of 12 videos covering the context, characters and themes of An Inspector Calls by J.B. Priestley

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An Inspector Calls || 7 Minute Summary #gcseenglish

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An Inspector Calls: Context And Background

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Quotes (An Inspector Calls)
This section contains key quotes from An inspector Calls by J. B. Priestley Mr Birling
"You're just the kind of son-in-law I always wanted"
"I'm talking as a hard-headed, practical man of business... there isn't a chance of war"
"... unsinkable, absolutely unsinkable"
"...there's a fair chance that I might find my way into the next Honour's list"
"...we'll try to keep out of trouble during the next few months"
"...a man has to make his own way - has to look after himself... community and all that nonsense" (as Inspector arrives) "I can't accept any responsibility"
"It's my duty to keep labour costs down"
"She'd had a lot to say - far too much - so she had to go"
"How do you get on with our Chief Constable, Colonel Roberts?"
"I've got to cover this up as soon as I can"
"Probably a Socialist or some sort of crank"

Mrs Birling

"When you're married you'll realize that men with important work to do sometimes have to spend nearly all their time and energy on their business"
"You know of course that my husband was Lord Mayor only two years ago and that he's still a magistrate"
"I'm very sorry. But I think she had only herself to blame"
"Unlike the other three, I did nothing I'm ashamed of"
"Go and look for the father of the child. It's his responsibility"
"It wasn't I who had her turned out of her employment - which probably began it all"
"She was claiming elaborate fine feelings and scruples that were simply absurd in a girl in her position"
"I accept no blame at all"; "I blame the young man who was the father of the child"
"You're not the type - you don't get drunk"
"I was the only one of you who didn't give in to him"
Sheila
"I've been so happy tonight. Oh I wish you hadn't told me"
"I think it was a mean thing to do. Perhaps that spoilt everything for her"
"These girls aren't cheap labour. They're people"
"I'll never, never do it again to anybody... I feel I can never go there again"
"Why - you fool - he knows. Of course he knows"
"He's been steadily drinking too much for the past two years"
"I don't dislike you as I did half an hour ago, Gerald. In fact, in some odd way, I rather respect you more than I've ever done before"
"You and I aren't the same people who sat down to dinner here"
"Mother, I think it was cruel and vile"
"You're beginning to pretend all over again that nothing much has happened"
"It doesn't much matter now, of course - but was he really a police inspector?"
"I suppose we're all nice people now"
"Well, he inspected us all right. And let's not start dodging and pretending now. Between us we drove that girl to suicide"
Eric
"He could have kept her on instead of throwing her out"
"That might have started it"
"I've had a few drinks, including rather a lot of champagne"
"I was in that state when a chap easily gets nasty" 52 "I didn't even remember - that's the hellish thing"
"She didn't want me to marry her... In a way, she treated me as if I were a kid"
"I got it - from the office... I intended to pay it back"
"...you're not the kind of father a chap could go to when he's in trouble"
"...my child - your own grandchild - you killed them both - damn you, damn you"
"It's what happened to the girl and what we all did to her that matters"
"You lot may be letting yourself out nicely, but I can't... we did her in all right"
Gerald
"I know we'd have done the same thing"
"For God's sake - don't say anything to the inspector"
"I think Miss Birling ought to be excused any more of this questioning"
"Sorry - I - well, I've suddenly realized - taken it in properly - that she's dead"
"We went to the County Hotel, which I knew would be quiet at that time of night"
"All that she wanted was to talk - a little friendliness"
"I didn't install here there so that I could make love to her"
"I didn't feel about her as she felt about me"
"Is there anything else you want to know - that you ought to know?"
"She told me she'd been happier than she'd ever been before"
"Everything's all right now, Sheila. What about this ring?"
Inspector Goole
"Burnt her inside out... she was in great agony"
"What happened to her... a chain of events"
"It's better to ask for the earth than to take it"
"There are a lot of young women living that sort of existence in every city and big town in this country"
"We have to share something. If there's nothing else, we'll have to share our guilt"
"She felt there'd never be anything as good again for her"
"Public men, Mr Birling, have responsibilities as well as privileges"
"She needed not only money but advice, sympathy, friendliness... you slammed the door in her face" "There'll be plenty of time, when I've gone, to adjust your family relationships"
"You'll be able to divide the responsibility between you when I've gone"
"...each of you helped to kill her. Remember that. Never forget it"
"Croft... he at least had some affection for her and made her happy for a time"
"But just remember this... fire and blood and anguish. Good night" 56 (final speech).

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Quotes (An Inspector Calls) - GCSE English Literature Revision

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Key quotes from An Inspector Calls by J. B. Priestley for GCSE English Literature revision, this section provides key quotes from the play.

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About J.B. Priestley: The Last Great Man of English Letters

John Priestley (he added Boynton later on) was born in Bradford in the West Riding of Yorkshire on 13 September 1894. His father, Jonathan, was a pioneering schoolmaster, his mother, Emma, had been a mill girl. Emma died when he was very young, but fortunately his stepmother, Amy, was very kind. Jack, as he was known to the family, enjoyed the rich cultural and social life of prosperous, cosmopolitan and relatively classless Bradford: music hall, football, classical music concerts and family gatherings. Many of his finest novels, plays and memoirs draw on his feelings about this vanished time, particularly "Bright Day" (1946), in which a disillusioned scriptwriter looks back at his golden Bradford adolescence, and "Lost Empires" (1965), recreating the 1913 variety theatre.

Priestley was educated at Belle Vue School, and then worked in a wool office in the Swan Arcade. His main interest by this time however was writing: his first publication was "Secrets of the Ragtime King" for London Opinion, then a series of articles, "Round the Hearth", for Independent Labour Party publication, The Bradford Pioneer. When the Great War broke out, Priestley volunteered, joining the Duke of Wellington's West Yorkshire Regiment. After a year of training in southern England, he was sent to the Front in 1915. In "Margin Released" (1962), he reflected on his hellish experiences and the loss of his friends. Seriously injured in June 1916, Priestley returned to England to convalesce, and then trained as an officer. Sent to the Front a second time in 1917, he was gassed and spent the rest of the War in administrative jobs. Although he never wrote in great detail about his war experience it haunted him all his life.

After the War, Priestley studied at Trinity Hall, Cambridge University, thanks to a very small ex-officer's grant. He excelled academically, but decided to make a career as a writer. With the exception of a book of poems "The Chapman of Rhymes" (1918), which he later denigrated, he had not been in a position to write much during the War years. He moved to London and wrote essays and book reviews for the London Mercury and other periodicals, and published works on literature and a couple of short novels. Collaboration with well-known historical novelist Hugh Walpole on "Farthing Hall" (1929) gave Priestley the financial freedom to write a long picaresque novel, "The Good Companions" (1929). The book won the James Tait Black Memorial Prize for fiction and earned him an international reputation. His follow-up novel, the darker, London centred "Angel Pavement" (1930), is also much admired.

In the 1930s, Priestley began a new career as a dramatist, a form of writing many have considered best suited to his great talents. His plays were impeccably crafted, sometimes experimental and are characterised by pre-War settings and various perspectives on time, they include: Dangerous Corner" (1932), the Yorkshire comedy "When we are Married" (1938), "I Have Been Here Before" (1937), and, his most famous play, "An Inspector Calls" (1945). The latter combined his fascination with the nature of time with his ideas about society. Priestley's social conscience was awakened by growing social inequalities in the 1930s, which were unforgettably outlined in "English Journey" (1934), where he raged at the treatment of veterans and the desolation of places like Rusty Lane.

During World War 2, Priestley achieved the peak of his fame and influence in his BBC "Postscripts" broadcasts (1940), in which he inspired many in difficult times by reflecting on the beauty of the English landscape, the gallant little ships at Dunkirk, and a steaming pie in a shop window defying the bombers. However, controversially, he called for social change after the War, so the mistakes made after the previous one and the poor treatment of the returning soldiers would not be repeated.

In the 1950s, Priestley became increasingly politically disillusioned, as the promise of the Labour success in the 1945 election seemed betrayed. In 1957, he once again articulated the mood of many when he wrote "Britain and the Nuclear Bombs" for the New Statesman, expressing his concern at Britain's development of its own hydrogen bombs, and calling for unilateral nuclear disarmament. The huge postbag received by the paper as a result led to the founding of the Campaign for Nuclear Disarmament. Priestley became vice-president, and contributed by writing, broadcasting and public speaking, but he hated committee work, and gratefully took the opportunity to give this up when the president, Bertrand Russell, resigned over the issue of direct action.

Priestley married three times: to Pat, who died tragically young, to Jane, from whom he was divorced, and to archaeologist and poet Jacquetta Hawkes. His marriage to Jacquetta was very happy: they collaborated on books such as "Journey down a Rainbow" (1955), and worked together in CND. "Time and the Priestleys" (1994), by their friend Diana Collins, gives a vivid picture of their later married life and their home at Kissing Tree House near Stratford-on-Avon.

Priestley continued to publish well into the 1970s. He received several honours late in life, including (belatedly) the freedom of the City of Bradford and an honorary degree from Bradford University. He had previously declined both a knighthood and a peerage but in 1977 accepted the Order of Merit, as this was the gift of the sovereign, not party political. He died in 1984.

It is difficult to do justice to the size and range of Priestley's writings. Alan Day's bibliography lists over 150 individual published works by him, plus many contributions, prefaces and newspaper articles. While certain themes recur throughout his writing (the danger of the mass media, the delights of music and art, the nature of time), Priestley was always ready to experiment with new formats and genres, from science fiction for children like "Snoggle" (1971), social history such as "The Prince of Pleasure and his Regency" (1969), expressionist drama epitomised by "Johnson over Jordan" (1939), and deep philosophy in "Over the Long High Wall" (1972).

In recent years, there has been a surge in his popularity, thanks among others to the work of the J.B. Priestley Society and to the impact of the astonishingly successful National Theatre production of "An Inspector Calls". Now Great Northern Books are reprinting his works, scholars are researching his role in shaping Englishness, and his plays are being produced more widely than ever.

Below is a select bibliography of his most important and in some cases his most popular works. For a complete bibliography please visit www.jbpriestley.co.uk

Major Novels

The Good Companions
Bright Day
Angel Pavement
Lost Empires
Festival at Farbridge
The Image Men
Let the People Sing

Major Plays

An Inspector Calls
When we are Married
Dangerous Corner
The Linden Tree
Time and the Conways
I Have Been Here Before
Eden End
Johnson over Jordan
A Severed Head (with Iris Murdoch)

Major Non-fiction

Margin Released - A Writer's reminiscences
English Journey
Delight
Postscripts
Essays of Five Decades
Literature and Western Man
Journey Down a Rainbow

Please note that new augmented editions of The Good Companions, Bright Day, English Journey and Delight are available at www.gnbooks.co.uk, as is Priestley's Wars, a compendium of his writings on both World Wars and the founding of CND. Also now available, Modern Delight, a collection of essays by best-loved authors and entertainers following Priestley's model in Delight. Created for charity, it is available from Waterstones and other booksellers.

Latest News

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About J.B. Priestley: The Last Great Man of English Letters John Priestley (he added Boynton later on) was born in Bradford in the West Riding of Yorkshire on 13 September 1894. His father, Jonathan, was a pioneering schoolmaster, his mother, Emma, had been a mill girl.

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https://www.oxfordrevise.com/glossaries/oxford-revise-aqa-gcse-english-literature-power-conflict-poetry-glossary/

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