Voransicht

William Shakespeares „The Merchant of Venice” (S II)
Reihe 9
S1
Verlauf
Material
LEK
Kontext
Mediothek
Love, Hate and Revenge: William Shakespeares
„The Merchant of Venice” – Erarbeiten der Komödie mit
dem active approach (S II)
Manuela Olde Daalhuis, Düsseldorf
II/B3
© Cambridge University Press 2014
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Wird die venezianische Gesellschaft Shylocks
Wunsch nach Gerechtigkeit entsprechen?
Klassenstufe: 11/12 (G8); 12/13 (G9)
Dauer: ca. 13 Stunden
Ob heute oder vor 500 Jahren – Liebe, Hass
und Rache lassen niemanden unberührt. Damit
diese Gefühle und Stimmungen für Ihre Schüler
auch bei der Lektüre des „Merchant of Venice“
erfahrbar werden, verfolgt diese Unterrichtsreihe den active approach. Ausgewählte Passagen werden produktionsorientiert und kreativ
bearbeitet, indem die Lernenden zu dialogischem Sprechen, szenischem Spiel und Perspektivwechseln ermutigt werden. Ergänzt wird
der Verstehensprozess durch analytisch-interpretierende Aufgaben sowie die Analyse von
Szenen aus der Verfilmung von 2004. Ob first
date oder Wutausbruch – seien Sie gespannt
auf die Reaktionen Ihrer Lernenden!
Bereich: Drama, The interest of young
audiences in Shakespeare – study of some
passages and corresponding film passages,
Themen: „Love and courtship”, „Hate and
revenge”, „Justice”, „Appearance and reality”
Kompetenzen:
1. Lesekompetenz: Lesen eines historischen
literarischen Texts in Auszügen; 2. Schreibkompetenz: Interpretation eines literarischen Texts;
3. Hör-Seh-Verstehen: Verstehen und Analysieren von Filmsequenzen
78 RAAbits Englisch Februar 2014
William Shakespeares „The Merchant of Venice” (S II)
Reihe 9
S6
Verlauf
S6
Material
LEK
Kontext
Mediothek
Schematische Verlaufsübersicht
Love, Hate and Revenge: William Shakespeares „The Merchant
of Venice” – Erarbeiten der Komödie mit dem active approach (S II)
II/B3
1./2. Stunde:
Approaching The Merchant of Venice – what is the play about?
3. Stunde:
The exposition – Antonio and the setting of the play
4. Stunde:
The courtship of Bassanio and Portia – what are they looking
for?
5. Stunde:
A bond between rivals – Antonio and Shylock
6./7. Stunde:
Appearance and reality in love – a first date
8. /9. Stunde:
Shylock’s case – his misery and anger
10. Stunde:
The casket choice – Bassanio wins Portia’s hand
11./12. Stunde:
The climax – a pound of flesh and a matter of justice
13. Stunde:
After the trial – what are Portia and Nerissa’s hidden thoughts?
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Minimalplan: Nach den ersten drei Stunden kann je nach Zeit und Interesse ein
Themenschwerpunkt ausgewählt werden. Entscheidet man sich für das Thema
„Liebe und Werbung“, so sollten die Materialien M 4, M 6, M 10, M 11 und M 15
eingesetzt werden. Beim Schwerpunkt „Hass und Rache“ empfiehlt sich die Bearbeitung der Materialien M 5 und M 7–M 9. Soll der Fokus auf die Frage von „Recht
und Gerechtigkeit“ gelegt werden, werden die Materialien M 12 und M 14 bearbeitet. Das Thema „Schein und Sein“ wird intensiver mit den Materialien M 6,
M 10, M 11 und M 15 erarbeitet.
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1./2. Stunde
Thema
Approaching The Merchant of Venice – what is the play about?
Material
Verlauf
M1
Quotes from the play / Aufbau einer Erwartungshaltung anhand von
Zitaten; szenisches Vortragen der Zitate
M2
Summary of the play / Einordnen der Zitate in die Zusammenfassung
des Stückes; Bestimmen der zentralen Themen
CD 10
The Merchant of Venice – useful vocabulary / thematische Wortschatzliste
Homework: Write down five quiz questions and their answers to them
about the content of the play.
78 RAAbits Englisch Februar 2014
William Shakespeares „The Merchant of Venice” (S II)
Reihe 9
Verlauf
Material
S1
LEK
Kontext
Mediothek
Materialübersicht
II/B3
1./2 Stunde:
Approaching The Merchant of Venice – what is the play
about?
M1
(Ab)
Quotes from The Merchant of Venice – act them out!
M2
(Ab)
The Merchant of Venice – a summary
CD 10 (Ab)
The Merchant of Venice – useful vocabulary
3. Stunde:
The exposition – Antonio and the setting of the play
M3
Meeting Antonio – why is he sad?
(Ab)

4. Stunde:
The courtship of Bassanio and Portia – what are they
looking for?
M4
Choosing a partner – Bassanio and Portia
(Ab)
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
5. Stunde:
A bond between rivals – Antonio and Shylock
M5
The bond – comparing Antonio and Shylock
(Ab)
CD 10 (Ab)
Two different worlds – Venice and Belmont
6./7. Stunde:
Appearance and reality in love – a first date
M6
Appearance and reality – first date
(Ab)
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CD 10 (Ab)
Shakespeare quotations about love
M7
Shylock’s misery – how does he feel?
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(Ab, Ha)
8./9. Stunde:
Shylock’s case – his misery and anger
M8
(Ab)
Shylock’s rage – analysing his speech
(Bd)
An appeal to common humanity – writing a speech
V
M9
10. Stunde:
The casket choice – Bassanio wins Portia’s hand
M 10
(Ab)
Bassanio wins Portia’s hand – mood and feelings
M 11
(Ab)
The casket choice – insider’s chatting

11./12. Stunde: The climax – a pound of flesh and a matter of justice
M 12
(Ab)
Analysing the trial scene
M 13
(Ab)
Dramatic techniques in the trial scene
M 14
(Ab)
Writing an article about the trial
13. Stunde:
After the trial – what are Portia and Nerissa’s hidden
thoughts?
M 15
(Ab)
Portia and Nerissa – a private talk
M 16
(Tx, Ha)
Lynn Collins as Portia – a mediation
CD 10 (LEK)

Mediation – Radford speaks about his film The Merchant of Venice
Für den Einsatz dieser Materialien wird ein DVD-Player benötigt.
Zusatzmaterial auf CD 10
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William Shakespeares „The Merchant of Venice” (S II)
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Quotes from The Merchant of Venice – act them out!
Act out some quotes from the play The Merchant of Venice.
Tasks
1. In pairs, read your quote. Try out different ways of speaking it – e.g.
slowly, breathlessly, in a sad voice, with a happy voice etc. Experiment
with your voices and with gestures while speaking. Do not sit down
during this task.
II/B3
2. Brainstorm situations in which somebody might say these sentences and agree on
one situation.
3. Present the quote to the rest of the class. One of you delivers it, the other explains the
situation you thought of.
1 Shylock
I’ll have my bond; I will not hear thee speak;
I’ll have my bond, and therefore speak no more.
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bond: a paper to show that you have lent sb. money the person will have to pay back to you after a fixed time
2 Bassanio
Nay, but hear me.
Pardon this fault, and by my soul I swear.
I nevermore will break an oath with thee.
nay, but hear me: truly, listen to me – oath: promise
3 Portia
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Myself, and what is mine, to you and yours
Is now converted.
to convert to sth./sb.: to change to sth./sb.
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4 Shylock
I pray you give me leave to go from hence;
I am not well.
to give sb. leave: to allow sb. to do sth. – from hence: away
5 Salarino
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6 Shylock
[…] in the Narrow Seas that part
The French and English, there miscarried
A vessel of our country richly fraught.
I thought upon Antonio when he told me,
And wished in silence that it were not his.
to miscarry: to get lost – vessel: a large ship – richly fraught: with a rich load
You call me misbeliever, cut-throat dog,
And spit upon my Jewish gaberdine,
And all for use of that which is mine own.
Well then, it now appears you need my help.
misbeliever: sb. who does not believe in the common religion but in another one – cut-throat: cruel and unfair
in business – gaberdine: long cloak
7 Bassanio
In Belmont is a lady richly left,
And she is fair, and – fairer than that word –
Of wondrous virtues.
fair: beautiful – wondrous: astonishing
8 Portia
I may neither choose who I would, nor refuse who I dislike, so is the will of a living
daughter curbed by the will of a dead father. Is it not hard, Nerissa, that I cannot choose
one, nor refuse none?
to be curbed by: to be controlled by
9 Shylock
I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses,
affections, passions?
10 Antonio
I hold the world but as the world, Gratiano:
A stage, where every man must play a part;
And mine a sad one.
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William Shakespeares „The Merchant of Venice” (S II)
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Choosing a partner – Bassanio and Portia
In Shakespeare’s comedies love is a predominant topic. Bassanio’s courtship sets off all
the events in this play. Find out how Bassanio and Portia think about their ideal partner
at the beginning of the play.
II/B3
Tasks
1. Have a look at some useful vocabulary to understand and talk about the scene. Which
one of the words in each line is the odd one out? Cross it out.
a) to win sb.’s hand – to woo sb. – to court sb.
b) to call sb. names – to insult sb. – to swear sth.
c) to be biased – to be narrow-minded – to be prejudiced against
d) to respect sb. – to scorn sb. – to appreciate sb.
e) to intend sth. – to make sb. believe sth. – to pretend sth.
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f) to have bad manners – to misbehave – to show dislike
g) to be wealthy – to be prosperous – to be generous
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2. Read Act I, Scene 1, ll. 160–175. Why does
Bassanio want to woo Portia? Explain.
3. Read Act I, Scene 2, ll. 33–74. Make a list
of the features Portia dislikes about her
suitors. Draw your conclusions: What
qualities are important for her?
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© Thinkstock/Digital Vision
4. You live in the 21st century. Which criteria
for choosing a partner are still important
for you today? Which additional criteria do
you have? Make a list of the top ten qualities
you would look for. Compare your list with a
partner. Are there any striking differences?
5. Discuss the role of the parents in the 21st
century. What influence do parents have
on their children’s choice of a partner
nowadays?
They are happy. What about their parents?
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Hinweise (M 4; 4. Stunde)
Das Thema dieser Stunde ist die Werbung bzw. Partnerwahl der Figuren Bassanio
und Portia. Die Ansprüche, die die beiden an einen potenziellen Ehepartner stellen,
werden analysiert: Während Portia sich eine Liebesheirat wünscht, bedenkt Bassanio
ebenfalls den finanziellen Vorteil und den Status, den eine Ehe mit Portia ihm bringen
würde.
II/B3
Als Einstieg schreibt die Lehrkraft den stummen Impuls „Choosing a partner“ an die
Tafel. Die Schülerinnen und Schüler werden aufgefordert, in einem Blitzlicht Sätze mit
den Vokabeln aus task 1 (M 4) zum Thema zu bilden, z. B. „I am too young to woo a
girl, I just want to have a girlfriend and have fun“, die sie als Hausaufgabe bearbeitet
haben.
Sie bearbeiten arbeitsteilig entweder task 2 oder task 3 in Partnerarbeit. So erarbeiten
sie die Motive und Werte, die Bassanios und Portias Handeln im ersten Akt prägen.
Differenzierung: Lernstärkere Schülerinnen und Schüler bearbeiten task 3, lernschwächere task 2, da das Lesepensum zur Bearbeitung dieser Aufgabe weniger umfangreich
ist.
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Zur Ergebnissicherung findet sich jeweils ein Schülerpaar, das Bassanios Motive analysiert hat, mit einem Paar, das Portias Wünsche bearbeitet hat, zusammen. Während
sie sich abwechselnd ihre Ergebnisse präsentieren, macht sich das jeweils zuhörende
Schülerpaar Notizen. Danach werden die Ergebnisse im Plenum gesammelt.
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In tasks 4 und 5 findet ein Vergleich mit der Lebenswelt der Lerngruppe statt. Die
Lernenden erstellen eine Liste mit Eigenschaften, die ihr Wunschpartner haben sollte,
und vergleichen diese mit der eines Partners (task 4). Im Plenum diskutieren sie, welche Rolle heutzutage die Eltern bei der Partnerwahl spielen (task 5).
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Erwartungshorizont (M 4)
1. Odd ones out: b) to swear sth., c) to be narrow-minded, d) to scorn sb., e) to intend
sth., f) to show dislike, g) to be generous
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2. Bassanio’s reasons: Portia is a rich heiress; she is beautiful, virtuous and attractive;
she seems to favour him; she has many admirers from all over the world; she has
prestige; the money invested in the courtship might pay itself back: He might be able
to pay back his debts with her money.
 Marriage becomes partly a business affair/marriage of convenience.
3. Portia’s dislikes: The Neapolitan prince is too rough and only talks about horses;
the County Palatine seems to be sad or angry all the time; the French lord has no
personality, he puts on a show by copying others; the English baron cannot speak
her language and is dressed strangely; the Scottish lord was punched by the English
baron and wants to hit him back; the German is drunk and extremely unpleasant; if
the Prince of Morocco is black, she does not want to be married to him – the colour
black was associated with the devil (another example of racism in the play).
 She wants somebody she can talk to, she can laugh with, well dressed, with good
manners, of white colour, somebody whose company she enjoys.
 Love marriage
4. Criteria for choosing a partner in the 21st century: e.g. character, attitude, interests,
status, religion, job, education, behaviour …
5. Influence of parents: e.g. some parents might still expect their child to choose somebody from the same social background, the same religion, who has a safe job, who is
wealthy, …; choosing a partner the parents don’t approve of might cause tensions.
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M 6 Appearance and reality – first date
In the play, Portia is not allowed to choose her favourite suitor. She has to accept
whoever wins the lottery of the three caskets set up by her dead father. But how do you
test somebody’s love? People often try to make themselves appear as good as possible
in such a situation …
Task
Let’s transport the situation into the 21st century:
Portia is now free to choose a partner. She wants to set up a test herself
to find out if the man she is going to meet for the first time suits her and
is honest. She and her suitor bring along their best friends for the date.
Before you read and prepare your role card, agree on a 21st century setting:
Where do you meet? What is the atmosphere like? (e.g. sports event, club …)
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A. Role card: Portia
You are Portia. You have a first date. Prepare yourself with the help
of your best friend: Set up a test to find out if the person you are
going to meet meets your expectations and is honest.
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2. Imagine one or two sentence beginnings that you could give to
your suitor. Ask him to finish it spontaneously.
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Examples: Love is like … the wind/a river/a drug/climbing a
mountain; When I am 70 years old, we …
3. Also note down at least three important questions to find out
whether your suitor meets your expectations and is honest.
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© Thinkstock/iStock
1. Take notes: What are your three most important expectations?
B. Role card: Portia’s best friend
You are Portia’s best friend. Portia is going to have a first date. Help
Portia to prepare herself: Set up a test to find out if the person Portia
is going to meet meets her expectations and is honest.
1. Take notes: What characteristics should a suitor have to fit well to
your friend Portia?
2. Help Portia to imagine one or two sentence beginnings that she
could give to the suitor and ask him to finish it spontaneously.
Examples: Love is like … the wind/a river/a drug/climbing a
mountain …; When I am 70 years old, we …
3. Also note down at least three questions to find out whether the
suitor meets Portia’s and your expectations and is honest.
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© Thinkstock/iStock
II/B3
William Shakespeares „The Merchant of Venice” (S II)
Reihe 9
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Shylock’s misery – how does he feel?
Tasks: 1. Match the quotations to the corresponding thoughts
Shylock might have. 2. Form a line of pairs. Then form a tunnel
with your outstretched hands above your head, touching those of
your partner. Each pair of you represents a thought on Shylock’s
mind. When Shylock passes, whisper/shout/talk/hiss/murmur to
him. Experiment with your voices. Some students walk through the
middle being Shylock. Then they describe to the class how they felt
while walking through the tunnel and share their experiences.
What people say about Shylock
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© picture alliance
M7
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What Shylock might be thinking
II, 3, ll. 1–3, Jessica:
I am sorry thou wilt leave my father so.
Our house is hell, and thou a merry1 devil
Didst rob it of some taste of tediousness2.
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Antonio deeply despises me.
Antonio is my arch enemy.
1 merry: happy, joyful – 2 tediousness: atmosphere of being boring
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II, 3, ll. 15/16, Jessica:
Alack3, what heinous4 sin is it in me
To be ashamed to be my father’s child!
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b Antonio will spit on me again.
3 alack: (old) expression of sadness – 4 heinous: very bad and shocking
3
I, 3, l. 172, Bassanio:
I like not fair terms and a villain’s mind.
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I, 3, ll. 122/123, Antonio:
I am as like to call thee so again,
To spit on thee again, to spurn5 thee too.
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Jessica has eloped with Lorenzo.
My own daughter has stolen my
gold and my jewels.
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5 to spurn sb.: to reject sb., to disdain sb.
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I, 3, ll. 124–129, Antonio:
If thou wilt lend this money, lend it not
As to thy friends, for when did friendship take
A breed for barren metal of his friend6?
But lend it rather to thine enemy,
Who if he break, thou mayst with better face
Exact the penalty7.
d Jessica hated our home.
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My own child is ashamed of me.
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6 to take a breed for barren metal of his friend: (old) to earn money from
lending to a friend – 7 to exact the penalty: to demand the fine
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II, 2, ll. 1/2, Lancelot:
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Certainly, my conscience will serve me to run from this Jew my
master.
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II, 4, l. 28–32, Gratiano and Lorenzo:
Gratiano
Was not that letter from fair Jessica?
Lorenzo
I must needs tell thee all. She hath directed
How I shall take her from her father’s house,
What gold and jewels she is furnished with,
What page’s8 suit she hath in readiness.
My servant has run away – and
what is worse, he now works for
my enemy, Antonio.
g People call me a villain.
8 page: male servant
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II, 8, ll. 23/24, Salarino:
Why, all the boys in Venice follow him,
Crying his stones, his daughter, and his ducats.
h The Christians scorn me. They
call me a devil because I am a Jew.
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III, 1, ll. 17/18, Solanio:
Let me say ‘amen’ betimes9, lest10 the devil cross my prayer,
for here he comes in the likeness of a Jew.
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9 betimes: (old) quickly – 10 lest: for fear that, so that sth. does not happen
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The Venetians laugh about my
misery.
William Shakespeares „The Merchant of Venice” (S II)
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Hinweise (M 6; 6./7. Stunde)
Durch das Rollenspiel in dieser Stunde wird das Verständnis der Werbungsszenen in
Akt II und III und die Sensibilität für das Thema „appearance and reality“ gefördert.
Der Einstieg in die Stunde geschieht über einen stummen Impuls, auf den in Form
eines Blitzlichts reagiert wird. Die Lehrkraft fordert die Schülerinnen und Schüler auf,
den Satz „Love is …“ spontan zu vervollständigen.
II/B3
Für das Rollenspiel (M 6) werden die Lernenden in Vierergruppen eingeteilt. Sie einigen sich gemeinsam auf einen Schauplatz im 21. Jahrhundert, der ihrem ersten Date
als setting dient. Die Redewendungen, Fragen und den Liebestest bzw. die Liebeserklärung anhand eines Zitats bereiten sie stichwortartig in Partnerarbeit vor: Rolecard A
arbeitet mit Rolecard B, Rolecard C arbeitet mit Rolecard D zusammen. Rolecard C und
D benötigen zusätzlich Zugang zu Zitaten über Liebe (Internet oder Zitatensammlung).
Auf der CD 10 findet sich eine Zusammenstellung von Zitaten zum Thema
„Liebe“ aus Shakespeares Dramen. Diese kann den Schülern mit Rolecard C
und D zusätzlich ausgeteilt werden. Zur Vorbereitung des Rollenspiels können
die Gruppen außerdem auf ihre Ergebnisse von M 4 zurückgreifen (zehn Kriterien, die ihnen selbst bei der Partnerwahl am wichtigsten sind).
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Anschließend kommen die Gruppen zu viert zusammen und präsentieren ihr Rollenspiel im Plenum. Als Beobachtungsaufgabe achten die Zuschauer jeweils auf den
Repräsentanten ihrer eigenen vorbereiteten Rolle und vergleichen, wie der Vertreter der
präsentierenden Gruppe die eigene Rolle spielt. Dies wird in einem kurzen Abschlussgespräch evaluiert. Besonderes Augenmerk sollte dabei vor allem auf die Rolle des Werbenden gelegt werden: Was the suitor honest? Should Portia give him a chance?
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Differenzierung: Je nach Stärke und Selbstvertrauen der Gruppe kann der Präsentation eine geschützte Übungsphase zu viert vorangestellt werden. Der Dialog kann
jedoch auch gerade in lernstarken Gruppen durch die Überraschungseffekte und die
geforderten spontanen Reaktionen besonders reizvoll sein.
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Abschließend verfassen die Schülerinnen und Schüler ein resümierendes Statement:
Bei der Kästchenwahl zur Werbung Portias enthält das Bleikästchen mit der warnenden
Aufschrift Portias Porträt und demzufolge die Möglichkeit, Portia zu heiraten (Akt III,
Szene 2). Das goldene und silberne Kästchen hingegen machen den Werbenden Versprechungen. Das Motto für das Statement lässt sich plakativ so formulieren: Love is
… a risky business because all that glitters is not gold. Bei Bedarf können weitere
Impulse gegeben werden: What do you think about this statement? To what extent was
it relevant in your role play? To what extent is this statement true for Portia and Bassanio
and the casket choice in general?
Als Hausaufgabe ordnen die Lernenden Textstellen, in denen es um Shylock, geht
den jeweils möglichen Gedanken Shylocks zu (M 7, task 1).
Erwartungshorizont (M 7)
1. 1 d, 2 e, 3 g, 4 b, 5 a, 6 f, 7 c, 8 i, 9 h
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M 9 An appeal to common humanity – writing a speech
In Act III, Scene 1 Shylock first appeals to common humanity. Then he threatens to take
revenge on Antonio and in doing so behaves as badly or even worse than the people
that discriminate against him. Let’s transport the appeal to common humanity in the 21st
century.
II/B3
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Tasks
1. Take a look at the pictures. Explain what type of discrimination you associate with
them.
2. Work with a partner. Prepare a scene of discrimination and write a short dialogue.
Within this dialogue one of you holds a short speech and appeals to common
humanity like Shylock. Use at least three rhetorical questions. But think of a positive
turn in your speech: Do not let revenge be your motto, but understanding and openmindedness.
3. Present the scene to your class.
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Alle Bilder © www.Colourbox.com bis auf 1. Bild, 2. Reihe: © Thinkstock/Stockbyte
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Bassanio wins Portia’s hand – mood and feelings
Act III, Scene 2 is full of romantic emotions. Bassanio chooses the lead casket and wins
Portia’s hand. How should this be performed on stage?
II/B3
Imagine you are a theatre director. You are going
to meet your actors and discuss with them how
they should play several key moments in Act III,
Scene 2. Read the respective lines and decide on
the mood that the actors should convey for that
moment. Together with your partner agree on an
appropriate adjective from the following list or
use another adjective you think appropriate. Be
ready to explain your choice with the help of the
text.
© picture-alliance /
Mary Evans Picture Library
Task
The casket choice ends
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Example: Portia should be in a hesitant mood because she does not want to start with
the casket lottery directly. This becomes clear when she says “I speak too long, but ‘tis
to peize the time, To eche it, and to draw it out in length, To stay you from election.”
(ll. 22–24).
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Adjectives
afraid
attentive
breathless
charming
cheerful
confused
curious
devoted
dreamy
dynamic
eager
encouraging
excited
hesitant
A
R
O
V
hopeful
loyal
matter-of-fact
passionate
pleased
satisfied
tender
Portia
lines
How should the actress deliver these lines?
1
1–6
hesitant, …
3
108–114
5
166–174
6
242–248
8
298–313
Bassanio
lines
2
73–80
4
131–148
7
249–262
How should the actor deliver these lines?
78 RAAbits Englisch Februar 2014
thoughtful
upset
warm
worried
…
William Shakespeares „The Merchant of Venice” (S II)
Reihe 9
Verlauf
Material
S 24
LEK
Kontext
Mediothek
M 12 Analysing the trial scene
This chart helps you to get an overview of the trial scene in Act IV, Scene 1.
Tasks
1. Watch the trial scene. Mark whether you think Shylock is a victim
or a villain and the degree of suspense in the chart. Note down
keywords for the scene. The first line has been done as an example.
II/B3
2. Explain which the most thrilling moment in the scene is for you to a partner.
3. Assess whether you see Shylock rather as a victim or a villain in this scene. Use
the chart as a help to support your view.
1.
At the Duke’s house in Venice Shylock
insists on receiving a pound of flesh.
2.
Bassanio enters and offers to repay the
bond.
3.
Shylock refuses the money.
4.
Shylock blames the Christians for holding
slaves.
V
7.
suspense
1
2
3
4
5
keywords
T
H
C
hate, Jew,
malice
X
I
S
N
A
R
O
5.
6.
X
victim
What happens?
villain
IV,1
neutral
Shylock
Shylock takes out his knife.
Nerissa brings a letter by Doctor Bellario
which recommends the disguised Portia
as Doctor Balthazar.
Gratiano insults Shylock.
8.
Portia asks Shylock to have mercy, but
Shylock insists on his right.
9.
Bassanio asks the court to make an
exception for Antonio. Portia denies it.
10.
Portia asks Antonio to prepare his chest.
11.
Portia turns the law against Shylock. She
asks him to shed no blood at all. Shylock
realises that he has lost.
12.
Portia accuses him of seeking Antonio’s
life. Consequently, Shylock will lose all
his money and be executed.
13.
The Duke shows mercy to Shylock and
lets Shylock live.
14.
Antonio does not want Shylock’s money
but wants Shylock to become a Christian.
15.
Shylock asks for permission to leave
because he is not well.
78 RAAbits Englisch Februar 2014
T
H
C
I
S
N
A
R
O
V