Parents need to know that most teens will have trouble at first following Shakespeare's untouched and dense

prose. Given that the

anti-Semitism of the time is given explicit treatment with Christian characters spitting on, cursing, threatening, and "damning" Jewish
citizens forced to live in a ghetto, parents should be aware that sensitive viewers of any age may be upset and that this plus other
mature themes render it unsuitable for younger viewers. A character's life is threatened, a young woman runs away with a man
against her father's wishes, a man's anger becomes madness, a young woman refers to being orphaned, characters manipulate and
lie to one another, and otherwise "good" people show grave intolerance to others based upon their religion or nationality. There is
social drinking. Bare-breasted prostitutes beckon to passing men, and one scene has two characters doing business in a brothel.

I agree Portia's suitors were a bit over the top, but one has to remember that this is a comedy, and must be taken in context.
Elizabethan comedy was a bit more crude than a lot of people today can appreciate, as it focused on baser jokes concerning
sexuality and exaggeration. I felt that the suitors were amusing, especially the Prince of Aragon. His portrayal of a feeble old man
exemplifies the purpose of these characters being in the play: to contrast Bassanio and show what the other extreme of the
spectrum was: how unsuitable a suitor can be. The ridiculosity of the idea of an 80yr old man courting Portia is part of the joke. I
esp like "blinking fool" from the silver casket.
If you thought this was over the top, stay well away from the BBC version, as it's Morocco and Aragon are even more flamboyant
and obnoxious.
I use this version to accompany my British Lit unit. I own all of the versions and while I love Olivier, the modernization of the play
makes the themes of the play more difficult to imagine. The most recent one has so many cut lines and frankly nudity that I am not
showing in my classroom, that I am left with this version. As an earlier poster stated Gemma Jones is too old for the part and not
attractively made up, but maybe that age gives a sense of maturity that makes her knowledge easier to accept. In addition, when
Shylock is forced to kiss the cross, I and my class always discuss the uncomfortable feeling of denying someone their heritage. The
play is full of conflicts but to a certain degree if it didn't, the play would be somehow condoning the very acts we find repulsive
today. The limits of the Jews, women, and social class are all symbolized in the caskets. If one is to see how this can be used in a
modern connotation, you only have to ask students who has the newest ipod, car, or house and they see the concept of gold, silver,
or lead in a very modern light. I warn them before they see the play that they are watching a filming of a play, the costumes are
Elizabethan, not the period it would have been lived and the acting is somewhat the result of BBC trying to pump out all of the
Shakespeare plays on a limited budget, but all the lines are there!

Plot: Antonio, a Venetian merchant, complains to his friends of a melancholy that he cannot explain. His friend
Bassanio is desperately in need of money to court Portia, a wealthy heiress who lives in the city of Belmont. Bassanio
asks Antonio for a loan in order to travel in style to Portias estate. Antonio agrees, but is unable to make the loan
himself because his own money is all invested in a number of trade ships that are still at sea. Antonio suggests that
Bassanio secure the loan from one of the citys moneylenders and name Antonio as the loans guarantor. In Belmont,
Portia expresses sadness over the terms of her fathers will, which stipulates that she must marry the man who
correctly chooses one of three caskets. None of Portias current suitors are to her liking, and she and her lady-inwaiting, Nerissa, fondly remember a visit paid some time before by Bassanio.
In Venice, Antonio and Bassanio approach Shylock, a Jewish moneylender, for a loan. Shylock nurses a longstanding grudge against Antonio, who has made a habit of berating Shylock and other Jews for their usury, the
practice of loaning money at exorbitant rates of interest, and who undermines their business by offering interest-free
loans. Although Antonio refuses to apologize for his behavior, Shylock acts agreeably and offers to lend Bassanio
three thousand ducats with no interest. Shylock adds, however, that should the loan go unpaid, Shylock will be
entitled to a pound of Antonios own flesh. Despite Bassanios warnings, Antonio agrees. In Shylocks own household,
his servant Launcelot decides to leave Shylocks service to work for Bassanio, and Shylocks daughter Jessica
schemes to elope with Antonios friend Lorenzo. That night, the streets of Venice fill up with revelers, and Jessica
escapes with Lorenzo by dressing as his page. After a night of celebration, Bassanio and his friend Gratiano leave for
Belmont, where Bassanio intends to win Portias hand.
In Belmont, Portia welcomes the prince of Morocco, who has come in an attempt to choose the right casket to marry
her. The prince studies the inscriptions on the three caskets and chooses the gold one, which proves to be an
incorrect choice. In Venice, Shylock is furious to find that his daughter has run away, but rejoices in the fact that
Antonios ships are rumored to have been wrecked and that he will soon be able to claim his debt. In Belmont, the
prince of Arragon also visits Portia. He, too, studies the caskets carefully, but he picks the silver one, which is also
incorrect. Bassanio arrives at Portias estate, and they declare their love for one another. Despite Portias request that
he wait before choosing, Bassanio immediately picks the correct casket, which is made of lead. He and Portia rejoice,
and Gratiano confesses that he has fallen in love with Nerissa. The couples decide on a double wedding. Portia gives
Bassanio a ring as a token of love, and makes him swear that under no circumstances will he part with it. They are
joined, unexpectedly, by Lorenzo and Jessica. The celebration, however, is cut short by the news that Antonio has
indeed lost his ships, and that he has forfeited his bond to Shylock. Bassanio and Gratiano immediately travel to
Venice to try and save Antonios life. After they leave, Portia tells Nerissa that they will go to Venice disguised as men.
Shylock ignores the many pleas to spare Antonios life, and a trial is called to decide the matter. The duke of Venice,
who presides over the trial, announces that he has sent for a legal expert, who turns out to be Portia disguised as a
young man of law. Portia asks Shylock to show mercy, but he remains inflexible and insists the pound of flesh is
rightfully his. Bassanio offers Shylock twice the money due him, but Shylock insists on collecting the bond as it is
written. Portia examines the contract and, finding it legally binding, declares that Shylock is entitled to the merchants
flesh. Shylock ecstatically praises her wisdom, but as he is on the verge of collecting his due, Portia reminds him that
he must do so without causing Antonio to bleed, as the contract does not entitle him to any blood. Trapped by this
logic, Shylock hastily agrees to take Bassanios money instead, but Portia insists that Shylock take his bond as
written, or nothing at all. Portia informs Shylock that he is guilty of conspiring against the life of a Venetian citizen,
which means he must turn over half of his property to the state and the other half to Antonio. The duke spares

Shylocks life and takes a fine instead of Shylocks property. Antonio also forgoes his half of Shylocks wealth on two
conditions: first, Shylock must convert to Christianity, and second, he must will the entirety of his estate to Lorenzo
and Jessica upon his death. Shylock agrees and takes his leave.
Bassanio, who does not see through Portias disguise, showers the young law clerk with thanks, and is eventually
pressured into giving Portia the ring with which he promised never to part. Gratiano gives Nerissa, who is disguised
as Portias clerk, his ring. The two women return to Belmont, where they find Lorenzo and Jessica declaring their love
to each other under the moonlight. When Bassanio and Gratiano arrive the next day, their wives accuse them of
faithlessly giving their rings to other women. Before the deception goes too far, however, Portia reveals that she was,
in fact, the law clerk, and both she and Nerissa reconcile with their husbands. Lorenzo and Jessica are pleased to
learn of their inheritance from Shylock, and the joyful news arrives that Antonios ships have in fact made it back
safely. The group celebrates its good fortune.
August 2, 2011 in Introduction

The Merchant of Venice contains some of Shakespeares most memorable and complex characters. While Antonio is central to this
play after all, he is normally considered the person for whom it is named audiences are inevitably fascinated by Shylock, the
Jew who sues Antonio for a lethal pound of flesh in return for unpaid loans, and by Portia, the wealthy heiress, who marries
Antonios friend Bassanio and saves Antonios life in a dramatic courtroom scene.
Although Shylock is the villain of this play, Shakespeare departs from the Elizabethan caricature of the cruel, hated Jew, as
exemplified by Marlowes Barabas in The Jew of Malta (1589-90). His creation is more complex, fusing humanity with unrelenting
cruelty and a strict adherence to the letter of the law. In this way, the Jew-figure becomes something impossible to define,
performable as the clownish, evil, red-haired Elizabethan devil (a precursor to Dickens Fagin), or as the sympathetic Jew of our
modern, post-holocaust view. Whether his ultimately cruel punishment is his redemption or his humiliation just does not matter when
a broken Shylock murmurs his last line: I am not well.
Despite being on a more comic trajectory, Portia, like Shylock, is also bound by strict adherence to the law. First, she faithfully
submits to the terms of her fathers will, which force her to select her future husband according to their choice of gold, silver or
leaden casket (a passage famously discussed by Freud in 1913). Second, once Bassanio has chosen the correct box, she displays
a brilliant understanding of the law to free Antonio from Shylock on a technicality. Yet for all her brilliance in the courtroom, Portia
must dress as a man there, and, again like Shylock, this rich heiress actions demonstrate the prejudices and limitations of Venetian
society.
Set in Venice and Portias home in Belmont, the play moves from a fraught mix of cosmopolitan bustle and casual antisemitism to a
fairytale land of riddles, music and poetry. At the plays conclusion, all the main characters (save Shylock) enter the idyllic world of
Belmont in a happy ending, which is nevertheless tainted by memories of Portias rejected suitors and Shylocks earlier exit. Such
ambiguity was brought out notably in a 2010 performance at New Yorks Shakespeare in the Park, just one of many performances of
this popular Shakespeare play, perhaps now best known through the Al Pacino film of 2004.
Originally contributed by Richard Rose Adapted for publication by James Harriman-Smith

Summary:
The Merchant of Venice opens on a street in Venice (there are streets and not just canals in Venicewho knew?) where
Antonio, a Venetian merchant, complains of a sadness he can't quite explain. His friends suggest they'd be sad too if they
had as much merchandise to worry about as Antonio. Apparently all of his money is tied up in various sea ventures to exotic
locales. But Antonio is certain it's not money that's bothering him.

Antonio's friend Bassanio enters the scene, and we learn that Bassanio has been at the forefront of Antonio's mind.
Apparently Bassanio just got back from a secret trip to see an heiress named Portia in Belmont. Bassanio financed his trip
(and in fact, his entire lifestyle) by borrowing tons of money from Antonio. Portia is beautiful, intelligent, and, most important,
rich. If Bassanio could only get together the appearance of some wealth, he would be in a good position to compete with all
the other guys vying for Portia's attention. If they marry, he's all set financially. Antonio would be happy to lend Bassanio the
money he needs to woo Portia, except, as we know, all of Antonio's money is at sea. The two friends part ways, agreeing
that they'll try to raise the funds on Antonio's credit around town.
Meanwhile, even rich heiresses have their troubles. Portia is plagued by suitors from the four corners of the earth but isn't
allowed to choose the one she wants. Instead, her father, before his death, devised an unusual test. Three casketsone
gold, one silver, and one leadare laid out before each suitor, and whoever picks the right one gets the girl. (It sounds like a
twist on Goldilocks and the Three Bears.) Portia complains about all of the important men who come to see her, as there's
something wrong with each of them.
As Portia is trying to figure out how to avoid marrying, Bassanio is trying to figure out how to marry her. He negotiates with
the Jewish moneylender, Shylock, asking for 3,000 gold coins (ducats). Bassanio borrows the money on his friend Antonio's
credit. Trouble is, Antonio is an anti-Semite (he is prejudiced against Jewish people) and is offensive to Shylock whenever
he has the chance.
Slyly, Shylock says he'll try out Antonio's method of business by lending him the money interest-free. But, this is on the
condition that Antonio signs a bond promising that if the debt goes unpaid, Antonio will give Shylock a pound of his own
flesh. This seems like a good idea at the time (um, it does?) as Antonio is sure he'll have earned the money from his ships
before Shylock's due date.
Before we have time to think about what a crazy idea it is to promise anyone a pound of your flesh, we're back at Belmont
learning the rules of the casket game. Choose wrong, and not only do you fail to get Portia, but you cannot marry anyone for
the rest of your life. We see suitors fail when they choose the wrong caskets.
Meanwhile, Jessica (Shylock's only child) tells us that living in Shylock's house is pure hell and that she's ashamed to be his
daughter. Ouch. She has decided to elope with Lorenzo and convert to Christianity. Jessica gets her chance to carry out her
rebellious scheme when her dad leaves the house to go to dinner. As soon as he is out the door, Jessica steals off with her
lover, Lorenzo, and helps herself to a chunk of Dad's cash.
Bassanio and some of his pals set off for Belmont in hopes that Bassanio will snag the beautiful and rich Portia.
We also learn from some gossipy cats in Venice that Shylock was livid when he learned his daughter ran away, screaming
"'My daughter! O my ducats! O my daughter! / Fled with a Christian! O my Christian ducats!" (2.8.15-16). (Check out the
priorities herehe's about as angry about the fact his gold is gone as he is about the fact his bouncing baby girl is gone.)
This is good news for Antonio, who hates Shylock. But Antonio doesn't stay happy for long, as he is too busy recovering
from the fact that Bassanio has gone off to woo Portia.
Back in gossipy Venice, we hear that Antonio's ships have been sinking left and right. Shylock shows up, still mad about his
daughter's rebellion, but he's excited to hear that he'll get to take a pound of flesh from his enemy Antonio. He explains to
the gossipy men that he hates Antonio because Antonio hates him for being Jewish. Shylock then gives a beautiful speech
in defense of the humanity of Jews, including the well-known line "if you prick us, do we not bleed?"
He concludes that a Jew is not unlike a Christian, and a Christian in this situation would seek revenge. Therefore, he will do
the same, because the Christians have taught him hatred with their cruelty. Shylock is further angered to hear reports that
his daughter is off lavishly spending his money, so he sets up arrangements to have Antonio jailed, cut, and killed.

Back in Belmont, Portia is batting off the men. But she is truly excited by Bassanio. Bassanio impressively chooses the lead
casket (correct!) and wins Portia and her wealth. Portia is falling all over herself with love for Bassanio when Lorenzo and
Jessica arrive with news that Antonio is about to die at Shylock's command. Portia offers to pay off Antonio's debt, and she
and Bassanio have a quick (as in shotgun-quick) wedding before she sends Bassanio back to Venice with twenty times the
debt owed to Shylock. Portia gives Bassanio a ring and makes him promise never to take it off, which we're sure is going to
be significant sometime soon.
Meanwhile, Portia has hatched a plan to cross-dress and pose as a lawyer to argue Antonio's defense at his trial. She tells
Lorenzo to look after her house, disguises herself and Nerissa as men, and sets off for Venice in a hurry. Also, Graziano
randomly marries Nerissa.
The scene moves to the court in Venice. Everyone has tried to plead with Shylock, but he won't hear reason. He wants
justice, and that means having a pound of Antonio's flesh, as promised. It seems there's no hope until a young, effeminatelooking man shows up who happens to be a learned lawyer. He is called Balthazar (a.k.a. Portia).
Portia (as Balthazar) then begins to argue that Shylock should have mercy on Antonio, as mercy is a higher order good than
justice. Shylock says he doesn't need mercy, he's fine with just justice, thank you very much. There's no way anyone can get
around itAntonio signed the bond, the Duke won't bend the rules, and Shylock won't relent. Antonio doesn't care if he dies.
Bassanio says he wishes he could trade his wife and his life for Antonio's, which does not please his wife, but she doesn't
say anything because she's disguised in drag.
Portia (as Balthazar) gets Antonio ready to go under the knife, but she stops just short as Shylock is sharpening his knife.
She says the bond entitles Shylock to a pound of flesh, but if he spills a drop of Christian blood, then he'll be guilty of plotting
to murder a Venetian Christian, the penalty for which is losing everything he has. Shylock says something like, "Fine, just
give me the three-times-the-debt cash you offered me earlier," and Portia replies, "Actually, that offer's not on the table
anymore." Then he says, "Okay, just give me the 3,000 back," and she returns, "Actually, that's not on the table either."
The slippery downward slope continues until Shylock declares that, fine, he'll just leave, and Portia stops him and says since
he conspired to kill a Venetian he actually has to forfeit everything he owns. And beg for his life.
Finally holding the upper hand, Antonio decides that as punishment, Shylock has to sign an agreement saying that when he
dies, all his money will go to Jessica and her new Christian husband. Also, Shylock must convert to Christianity. Shylock
leaves a totally broken man.
Portia grabs Nerissa and tries to get home before the men return and find out their wives were the ones in court that day.
Antonio and Bassanio try to get Balthazar to accept a gift before he goes, and though Portia (as Balthazar) tries to refuse it,
the men press her. She asks for Bassanio's ring (which is really her ring, symbolizing their marriage trust). Bassanio refuses
to give it to her, but then Antonio suggests he's whipped and foolish, so Bassanio caves in and gives Balthazar the ring at
the last minute.
Finally everyone gets home to Belmont; the women have narrowly arrived before the men. Nerissa launches into a fight with
Graziano about the missing ring (as it turns out, she also gave a ring symbolizing marital fidelity), accusing him of giving it to
a woman. Portia then lights into Bassanio for the same thing. Portia complains about the men breaking faith for this lawyer
guy, and she pledges to sleep with this learned man too, breaking her marriage vows like Bassanio did by giving up her ring.
Antonio has come home to Belmont with them and he feels responsible for the fights. To make up for it he promises his soul
as a guarantee that Bassanio will be faithful to Portia. Portia accepts the offer of Antonio's soul and she gives him a ring to
give to Bassanio. Turns out it's the original ring. Portia explains that she and Nerissa were the young lawyer and the clerk
who rescued Antonio from Shylock. Also, she's got a letter that says some of Antonio's ships have come home with cash
after all. The play ends with happiness for most of the characters in the playall except Shylock.

http://www.enotes.com/topics/merchant-of-venice/teacher-resources
Given its preoccupation with financial ruin, oppression, racism, anti-Semitism, and a bloody pound of human
flesh, Shakespeares The Merchant of Venice seems an unlikely comedy; in fact, today the play often receives
the oxymoronic designation tragicomedy because it does not adhere to the conventions of either tragedy or
comedy but instead includes two distinct plots. The tragic plot hinges on a legal bond between Antonio, a
respected merchant who requires a large loan, and Shylock, a Jewish moneylender universally scorned
(particularly by Antonio) for usury, the practice of charging excessively high interest rates on loans. In an
attempt to entrap Antonio, Shylock offers to forego interest on the loan if Antonio will instead pledge a pound of
his own flesh as collateral, forfeiting it should he fail to repay the hefty sum by the appointed time.
Antonio accepts these strange conditions in order to help his friend Bassanio pursue another type of bond
marriage to Portia, the beautiful heiress of Belmont. Bassanio believes he needs a small fortune to compete for
the right to woo Portia. Having lived beyond his own means, he appeals to Antonio, to whom he already owes
the most in money and in love. Bound to Bassanio by deep feelings of platonic love, Antonio binds himself to
Shylock for the gold. As the plays focus shifts from money to marriage, traditional comedic elements such as
rebellious women, clever disguises, and mistaken identities lighten the mood and steer a course closer to
Shakespeares other comedies. Nevertheless, the original bond between Antonio and Shylock soon enmeshes
all the characters in Antonio and Shylocks deadly serious rivalry.
As the play unfolds, Shakespeare reveals a plethora of bonds of a different naturethe bonds between friends,
between lovers, and between parents and children. The resulting conflicts challenge the idea that two people
can truly be bound to each other in marriage or in friendship when they are bound also to their social
obligations, to professional distinction, to family duties, to religious piety, and to reputation. The bonds,
betrayals, and divided loyalties make a comic conception of the play troublesome; moreover, the remarkably
hostile climate in which these bonds are forged and broken truly sets The Merchant of Venice apart as
Shakespeares most problematic comedy.
Antonios bond being central to the plot positions Shylock as the principal antagonist, a role that presupposes a
degree of derision and exclusion. Cruelty and comedy are frequent bedfellows in Shakespeare; however,
Shylock is unique as an alienated antagonist because he is a Jew. First published in 1600, The Merchant of
Venice belongs to a period of widespread anti-Semitism in England and in continental Europe; the prejudice
and malice that prevailed against Jews during this time were rooted in the Middle Ages, when Christians made
scapegoats of Jews, blaming them for Christs crucifixion and spreading dark rumors that the tribes of Israel
drank the blood of Christian children. Enduring social, legal, and economic exclusion defined Jews as a
separate race, as well as a religious group, forbidding them from owning land, confining them to impoverished
ghettos, and denying them the practice of most professions. Complicating an already malignant stereotype,
many Jews turned to money lending, a despised profession, simply because prejudice closed so many other
career paths to them. England had forcibly expelled most of its Jewish population four hundred years before
Shakespeares time; sources estimate that fewer than two hundred Jews remained in England during the
authors life. Thus the character of Shylock was crafted from stereotype and sensationalism; Shakespeare
often trafficked in exotic characters and settings to heighten the interest of the masses that flocked to view his
dramas.

That prejudice and cruelty form the basis of so much of the plays humor causes great consternation among
critics. Because of its blatant, demeaning anti-Semitism, should the play not be performed for modern
audiences, or does Shakespeare provide just enough sympathy for Shylockand criticism of his antagonists
to redeem the work? Furthermore, Shylock is not the only character who is the target of bigotry, giving rise to
the criticism that The Merchant of Veniceevinces a broader racism. While the Venetian merchants spit on
Shylock, the lady Portia spurns a parade of foreign suitors, one of whom is black. Her disparaging comments
about Moroccos complexion underscore the plays endemic racism, confounding our expectations of a
romantic heroine.
In Portia, three other major themes of this play come together: marriage, money, and bondage. An undeniably
willful, intelligent woman, Portia is nevertheless bound by the will of her dead father; she must welcome any
suitor willing to face a test of her fathers own devising in order to win her hand. Her suitors find Portia beautiful,
but her wealth clearly constitutes a considerable part of her charm. Even Bassanio seems seduced more by the
promise of money than by Portia herself, raising a troubling question: While the marriage plot promises the
happy union of lovers, can a happy ending exist when the object of marriage is not love but wealth?
Racism, greed, betrayal, deceit, cruelty . . . and comedy? What is the reader to do with the problems posed
by The Merchant of Venice? Shakespeares language always requires careful reading, but this play also
demands an open mind. As scholar Alexander Leggatt observes in the Folger edition of the play, Even a great
writer can be bound by the prejudices of his time. The reader must confront instances of exclusion and racism,
question their causes, and look for those moments in which Shakespeare suggests sympathy for Shylock. Most
importantly, the reader must turn a critical eye on the plays heroes as well as on its villain. Given the lovers
readiness to exclude Shylock (and Antonio), do they deserve a conventional happy ending? Shakespeare
seems to invite this critique, as the plays title directs us not to The Moneylender of Venice but to Antonio, the
eponymous merchant. Antonios blatant prejudice and his determination to exclude Shylock mirror his own
social isolation at the end of the play.
By the end of the unit the student will be able to:
1. Describe the primary conflict each main character faces in the play.
2. Identify examples of dramatic devices such as asides, active monologues, and dramatic irony and explain
their significance in the play.
3. Identify examples of literary devices such as metaphor, simile, and allusion and explain their significance in
the play.
4. Describe the logic behind the lottery of the caskets devised by Portias father, and explain how this element
of the play relates to the theme of marriage and money.
5. Discuss the role of gender in the play, as well as the functions of cross-dressing.
6. Compare and contrast Bassanios relationship with Antonio with his relationship with Portia.
7. Compare and contrast Antonio and Shylock as outsiders in the play.

8. Identify and discuss examples of humor used to assert power and humor based on cruelty.
9. Discuss whether or not the play endorses racism and/or anti-Semitism.
10. Define tragicomedy, and explain how The Merchant of Veniceexemplifies the genre.
ado: agitated fuss or concern
ague: fever accompanied by chills
argosies: large ships belonging to merchants
burghers: prosperous citizens
conceit: a thought, an idea
exhortation: encouragement
fie: an expression of mild disgust or annoyance
for this gear: because of this talk
good morrow: archaic good morning
gudgeon: a fish rumored to swallow anything it comes across
Janus: Roman mythology god with two faces looking in opposite directions
mortifying: archaic self-denying
piring: archaic peering
prodigal: lavish, wasteful

Merchant Of Venice Lesson Plan

Edit 0 3
Lesson Plan/ Merchant of Venice
Grade 9
Content Literacy Strategies
What content literacy strategies is your lesson plan addressing?
My content literacy strategies would involve reading the actual text to and with the class this would be the procedure I would follow each
time we are reading or discussing a scene. The purpose of this is that I would like the students to get used to the dialogue of the text. During
this reading, as the teacher I would perform a read aloud and a think aloud so I could show the students how to I would like them to
particularly read The Merchant of Venice and begin to form ideas and questions. After I have illustrated the way I would want the students to

go about the text I would let the students read by taking turns and reading different paragraphs during class. Once we have read the first
scene all together I would get the students into groups that they could discuss the text together and form a group discussion about the text,
words, and characters. Another strategy would be to take up the discussion and see what each group came up with. I would also get the
students to develop a flow map with words from the text; words that as a group the students found difficult to understand and also a double
bubble map for comparing and contrasting characters in the play and pick out words from the text that describe the characters.

Objectives

What is it that you want your students to be able to do? What is your purpose of this lesson plan?

The objective of my lesson plan is to make reading the play The Merchant of Venice comprehendible for a grade nine classroom. The way I
would go about teaching this play by Shakespeare is by making it straightforward for students. I would want students to be able to
comprehend this particular play in a deep manner, such as particular themes, character traits, and critically analyse the play itself. The
purpose of my lesson plan is to introduce students to Shakespeares world of literature and help the students grasp the conceptions of what
the play illustrates. After teaching many lessons based on the play, I would want my students to fully understand what Shakespeares play
The Merchant of Venice in a in-depth manner and having the students at the end of the play being able to illustrate exactly what they play is
about and being able to make their own theories and own perceptions about what occurred in the play.

Materials

What materials are necessary for you lesson plan?

The materials that I would be using for my lesson plan would be the play The Merchant of Venice. I would probably need around twenty-five
copies so that each student in my class can have one. My lesson plan does not require many things since the lesson plan primarily has to
do with the context of the play itself, so reading would be the main focus. Towards other lesson plans I would want my students to grasp a
good perception of each character, so I believe that it would be a great idea for the students to listen to the dialogue on tape; therefore a
tape of The Merchant of Venice would be need, as for a tape recorder. This way the students would be able to hear each character and grasp
how each character is personified and how the play itself engages each student as this technique captures students auditory learning style.
At the very end when the play is fully read, I would want my students to watch the play on a television, so I would also need a copy of the
play and get a television and DVD player. This would be a perfect way for students to end the book, so they can see the play for itself and
get a visual idea of the play itself.

Set-Up

What set-up does your lesson plan require?

My lesson plan does not require much set-up. I would basically have the students sitting at their own seats when we are discussing and
reading the play. When there is group work I would ask the students to move about the classroom and get into groups to discuss the play. At
the most, if there was a instance where I would like the students to act out a scene as an activity for the play, I would get the students to
move the desks to the side in order for them to have the space available.

Methodology

Explain in steps how you are going to conduct this lesson plan?

These are the steps I would go about to teach the lesson:

1. I would begin by reading a passage from the play to the entire class

2. Ask the class if they have heard this Shakespearean language before

3. Tell the students that this reading is from the play The Merchant of Venice

4. Introduce the class to some information about Shakespeare and his connection to the play

5. Talk about love and money lending since this is what the is about

6. I would then talk a little bit about the characters, just introduce them; I would not give them full character traits since this is just a
introduction to the play

7. Read the play to the class as a read aloud/ think aloud

8. As I am reading I would tell the students what Im thinking about as I read the dialogue of the characters.

9. Help the students formulate questions and predictions

10. I would read the first day myself to get the students familiar with the language and the words being said

11. Finished reading for the day, hopefully read half of scene one

12. Tell the students for homework they would have to read over what was read in class today and take a Merchant of Venice word chart and
have them write the meaning of the words assigned; complete the double bubble map for any type character of their choice, and complete
the out slip.

Assignment
Besides what you are having students do as a class or in groups is there an individual
assignment involved?

There would be three assignments given on the first day. These assignments are not difficult ones to complete; I wanted to give them t these
particular assignments in order for the students to get familiarized with Shakespeares language and t he plays characters. These are the
assignments that would be assigned:

1. Merchant of Venice word chart the students would have to take words that are given on the chart and find out the meaning of the word
and its context. This is an easy chart to complete given that the definitions of the words are in the book already.

2. Double Bubble Map this assignment entails the students to take two characters of their choice and complete a compare contrast bubble
map, taking traits that are similar and different.

3. Out Slip these students would have to complete an out slip that basically would count as attendance and to grasp an idea if the students
understood what was occurring in the class. This would basically be for my benefit; this could e good because from this I may have to alter
my teaching in order for the students to understand better.

Assessment

How are you assessing that students met your objectives?

I am assessing my students based on my objectives is the student first of all has completed their work. If they have completed their work,
this is demonstrating to me that the students understand what is occurring in the book and have an idea what the book is about. Also, i
would be assessing the students mainly on the discussions that would be formulated in my classroom. After each paragraph I would direct
questions to the students and I would want to hear their ideas; they would hopefully ask questions to me. By these two main aspects, it
would tell me that the students understand the play better and have their own opinions and ideas. I believe that assessing the class mainly
on tests would not be beneficial to them. Having deep discussions and having to hear the students thoughts is a great way to see if
students comprehend the lesson and the context of the play itself.

Struggling Readers Modifications

Explain how your lesson will help struggling readers, if it does as is explain, or how you would
modify it to?

As mentioned in my methodology, I would read to the class for those students who have difficulty reading, especially with the
Shakespearean language. Also, I believe that having the play being listened to on tape, and having the struggling readers listen to the
dialogue of the play in an auditory fashion which could benefit their learning. In order to modify my lesson and help students with reading
problems, I would put the students in reading groups and have each student read a part of the play and have the struggling readers listen to
how other people read so that they can better their reading as their turn comes around. If this does not help the student, I would personally
help the student read and guide them through the play in order for them to understand; the last option I would want is for the student to
have a special education helper come in and help the student. These are ways that I would go about helping struggling readers to improve
their comprehension of the play The Merchant of Venice.

Ace G. Pilkington

Portia and Shylock: The Outsiders of Venice

(originally published in the Utah Shakespearean Festival Souvenir
Program, 1992)
Kenneth Myrick says, "The Merchant of Venice is the earliest of three
superb comedies in which Shakespeare has set a generous and clear-sighted
woman in sharp contrast to a no less unusual, but markedly unsocial man.
From beginning to end, Portia and Shylock--like Rosalind and Jaques in As
You Like It and Viola and Malvolio in Twelfth Night--remain poles apart"
(Introduction to The Merchant of Venice [New York: The New American
Library, Inc., 1965], xxi).
Shylock, the Outsider of Venice, is most precisely fixed within the structure
of the play by his confrontation with that other outsider, Portia of Belmont,
and she is, in turn, illuminated by the obstinate opposite she faces. Their
conflicts and contiguities (for they have those as well) focus the issues of
the entire play. Shylock has paid three thousand ducats to feed his revenge,
to purchase the death of the man he hates; Portia offers more than thrice
that sum to deface his deadly bond, to rescue her dear bought husband's
dearest friend.
Both Portia and Shylock are using money as a means, but to very different
ends. Portia uses money as Antonio has used it, to secure the happiness of
those around her: her wealth now sustains the prodigal Bassanio, and her

house shelters both Shylock's thrown away servant and his runaway
daughter. Portia's wealth means an expansion of possibilities, a musical
movement through life that may at times catch brief echoes (even in "this
muddy vesture of decay") of that purer music which sounds in the heavens.
Shylock's Puritan attitudes link him with Jaques and Malvolio (not to
mention Angelo in Measure for Measure), and for Shakespeare's theatre
audience mark him more clearly as a villain than his Jewishness does. His
puritanical thrift means shutting up the self in a dark house where
friendship, festival, love, and music find their way only as intruders, garish
masks glimpsed in the streets or discordant noises heard from far away.
But just for a moment before Shylock's final discomfiture, we are given a
chance to see the similarities between the lady and the miser. They are, after
all, tied together in several strange ways. Portia has obeyed her father's will
in a manner that Shylock would certainly approve and by means which he
has indirectly supplied. His money made her combination of obedience and
happiness possible. There is a curious circle here: Antonio's bond and
Shylock's ducats freed Portia from her bond; now, she comes in her turn to
release both Antonio and Shylock.
Indeed, in her role as Balthasar she is closer to Shylock than to Antonio.
She is an outsider in the society of Venice, an actress playing a new and
unfamiliar part. And more than that, she is an alien--a woman in a world of
men, an intruder who has less right to be in the court than Shylock has. This
is an aspect of the situation that a twentieth century auditor can easily miss,
but surely an Elizabethan would have found the figure of a female judge
more outlandish than any masculine intruder.
So, when Portia says, "Then must the Jew be merciful" (4.1.181), she is one
alien speaking to another, appealing to their common humanity, pointing to
the possible perils that may pierce it, and arguing that all such fragile souls
stand in need of compassion. We do not, of course, expect Shylock to
penetrate her disguise; even if his own blindness would permit it, the stage
convention will not. We hope, however, that he will see through himself.
But like Jaques in As You Like It, he responds only to those things which
chime with his own unmusical pose. Like Malvolio, he insists on revenge.
Balthasar is a wise young judge when he upholds the bond, but Shylock
ignores him when he strays from that comfortable text. Instead, Shylock
plunges on, to demand the letter of the law, to draw his deeds literally on
his own head, and to be forced to accept what he had refused to give--a
grudging mercy. Even the last act, with Shylock absent, continues the
comparisons between the two. Portia forgives and loves Bassanio,
aristocratic representative of a Christian patriarchal order that excludes her

in much the same way that it shuts out the Jew.

Copyright 1997 by Ace G. Pilkington

Teaching The Merchant of Venice
The Merchant of Venice lesson plan contains a variety of teaching materials that cater to all learning styles. Inside you'll find 30
Daily Lessons, 20 Fun Activities, 180 Multiple Choice Questions, 60 Short Essay Questions, 20 Essay Questions, Quizzes/Homework
Assignments, Tests, and more. The lessons and activities will help students gain an intimate understanding of the text, while the
tests and quizzes will help you evaluate how well the students have grasped the material. View a free sample
Target Grade: 7th-12th (Middle School and High School)
Length of Lesson Plan: Approximately 134 pages. Page count is estimated at 300 words per page. Length will vary depending on
format viewed.
Browse The Merchant of Venice Lesson Plan:

Introduction

Lesson Calendar

Chapter Abstracts

Character Descriptions

Object Descriptions

Daily Lessons

Fun Activities

Essay Topics

Short Essay Questions

Multiple Choice

Short Answer Questions

Worksheets and Evaluation Forms

Quizzes

Tests

Quiz/Test Generator

Full Lesson Plan Overview

Completely Customizable!
The Merchant of Venice lesson plan is downloadable in PDF and Word. The Word file is viewable with any PC or Mac and can be
further adjusted if you want to mix questions around and/or add your own headers for things like "Name," "Period," and "Date." The
Word file offers unlimited customizing options so that you can teach in the most efficient manner possible. Once you download the
file, it is yours to keep and print for your classroom. View a FREE sample

Lesson Plan Calendars

The Lesson Plan Calendars provide daily suggestions about what to teach. They include detailed descriptions of when to assign
reading, homework, in-class work, fun activities, quizzes, tests and more. Use the entire The Merchant of Venice calendar, or
supplement it with your own curriculum ideas. Calendars cover one, two, four, and eight week units. Determine how long your The
Merchant of Venice unit will be, then use one of the calendars provided to plan out your entire lesson.

Chapter Abstracts
Chapter abstracts are short descriptions of events that occur in each chapter of The Merchant of Venice. They highlight major plot
events and detail the important relationships and characteristics of important characters. The Chapter Abstracts can be used to
review what the students have read, or to prepare the students for what they will read. Hand the abstracts out in class as a study
guide, or use them as a "key" for a class discussion. They are relatively brief, but can serve to be an excellent refresher of The
Merchant of Venice for either a student or teacher.

Character and Object Descriptions

Character and Object Descriptions provide descriptions of the significant characters as well as objects and places in The Merchant of
Venice. These can be printed out and used as an individual study guide for students, a "key" for leading a class discussion, a
summary review prior to exams, or a refresher for an educator. The character and object descriptions are also used in some of the
quizzes and tests in this lesson plan. The longest descriptions run about 200 words. They become shorter as the importance of the
character or object declines.

Daily Lessons
This section of the lesson plan contains 30 Daily Lessons. Daily Lessons each have a specific objective and offer at least three (often
more) ways to teach that objective. Lessons include classroom discussions, group and partner activities, in-class handouts,
individual writing assignments, at least one homework assignment, class participation exercises and other ways to teach students
about The Merchant of Venice in a classroom setting. You can combine daily lessons or use the ideas within them to create your
own unique curriculum. They vary greatly from day to day and offer an array of creative ideas that provide many options for an
educator.

Fun Classroom Activities

Fun Classroom Activities differ from Daily Lessons because they make "fun" a priority. The 20 enjoyable, interactive classroom
activities that are included will help students understand The Merchant of Venice in fun and entertaining ways. Fun Classroom
Activities include group projects, games, critical thinking activities, brainstorming sessions, writing poems, drawing or sketching,
and countless other creative exercises. Many of the activities encourage students to interact with each other, be creative and think
"outside of the box," and ultimately grasp key concepts from the text by "doing" rather than simply studying. Fun activities are a
great way to keep students interested and engaged while still providing a deeper understanding of The Merchant of Venice and its
themes.

Essay Questions/Writing Assignments

These 20 Essay Questions/Writing Assignments can be used as essay questions on a test, or as stand-alone essay topics for a takehome or in-class writing assignment on The Merchant of Venice. Students should have a full understanding of the unit material in
order to answer these questions. They often include multiple parts of the work and ask for a thorough analysis of the overall text.
They nearly always require a substantial response. Essay responses are typically expected to be one (or more) page(s) and consist
of multiple paragraphs, although it is possible to write answers more briefly. These essays are designed to challenge a student's
understanding of the broad points in a work, interactions among the characters, and main points and themes of the text. But, they
also cover many of the other issues specific to the work and to the world today.

Short Essay Questions

The 60 Short Essay Questions listed in this section require a one to two sentence answer. They ask students to demonstrate a
deeper understanding of The Merchant of Venice by describing what they've read, rather than just recalling it. The short essay
questions evaluate not only whether students have read the material, but also how well they understand and can apply it. They
require more thought than multiple choice questions, but are shorter than the essay questions.

Multiple Choice Questions

The 180 Multiple Choice Questions in this lesson plan will test a student's recall and understanding of The Merchant of Venice. Use
these questions for quizzes, homework assignments or tests. The questions are broken out into sections, so they focus on specific

chapters within The Merchant of Venice. This allows you to test and review the book as you proceed through the unit. Typically,
there are 5-15 questions per chapter, act or section.

Evaluation Forms
Use the Oral Reading Evaluation Form when students are reading aloud in class. Pass the forms out before you assign reading, so
students will know what to expect. You can use the forms to provide general feedback on audibility, pronunciation, articulation,
expression and rate of speech. You can use this form to grade students, or simply comment on their progress.
Use the Writing Evaluation Form when you're grading student essays. This will help you establish uniform criteria for grading essays
even though students may be writing about different aspects of the material. By following this form you will be able to evaluate the
thesis, organization, supporting arguments, paragraph transitions, grammar, spelling, punctuation, etc. of each student's essay.

Quizzes/Homework Assignments
The Quizzes/Homework Assignments are worksheets that can be used in a variety of ways. They pull questions from the multiple
choice and short essay sections, the character and object descriptions, and the chapter abstracts to create worksheets that can be
used for pop quizzes, in-class assignments and homework. Periodic homework assignments and quizzes are a great way to
encourage students to stay on top of their assigned reading. They can also help you determine which concepts and ideas your class
grasps and which they need more guidance on. By pulling from the different sections of the lesson plan, quizzes and homework
assignments offer a comprehensive review ofThe Merchant of Venice in manageable increments that are less substantial than a full
blown test.

Tests
Use the Test Summary page to determine which pre-made test is most relevant to your students' learning styles. This lesson plan
provides both full unit tests and mid-unit tests. You can choose from several tests that include differing combinations of multiple
choice questions, short answer questions, short essay questions, full essay questions, character and object matching, etc. Some of
the tests are designed to be more difficult than others. Some have essay questions, while others are limited to short-response
questions, like multiple choice, matching and short answer questions. If you don't find the combination of questions that best suits
your class, you can also create your own test on The Merchant of Venice.

Create Your Own Quiz or Test

You have the option to Create Your Own Quiz or Test. If you want to integrate questions you've developed for your curriculum with
the questions in this lesson plan, or you simply want to create a unique test or quiz from the questions this lesson plan offers, it's
easy to do. Cut and paste the information from the Create Your Own Quiz or Test page into a Word document to get started. Scroll
through the sections of the lesson plan that most interest you and cut and paste the exact questions you want to use into your new,
personalized The Merchant of Venicelesson plan.
(read more)