Abstract
In this article, I argue that Shakespeare’s Merchant of Venice is fundamentally a 16th-century dramatization of religious reading strategies in conflict—allegorism and literalism. In Act 1, Shylock attempts to justify his profession by reading Genesis allegorically. Antonio objects to Shylock’s unwarranted use of the scriptures. Later, Bassanio wins Portia’s hand by refusing to read closely the caskets because he’s racked with love. The readings converge and culminate in Act 4 when Portia discards her appeal to mercy and reads the bond in absurd terms. Through an act of reading, she delivers Antonio’s life and becomes the play’s heroine.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
