The Genre Problem of Comedy in The Merchant of Venice

• 영문명: The Genre Problem of Comedy in The Merchant of Venice
• 발행기관: 한국영미어문학회
• 저자명: Hee-Ock Yoon
• 간행물 정보: 『영미어문학』영미어문학(TAEGU REVIEW) 제69호, 43~56쪽, 전체 14쪽
• 주제분류: 어문학 > 영어와문학
• 파일형태: PDF
• 발행일자: 2003.12.01

영문 초록

The bond story, not the tale of caskets, says H. B. Charlton, is the backbone of The Merchant of Venice; and Shylock and Antonio, not Bassanio, nor even Portia, are the real protagonists of the piece. Shakespeare allots much of this comedy to the bond story pivoting on Shylock's vengeful hatred against Antonio. Shylock towers up as a consistent and rapacious villain against the other characters. Especially, Shakespeare's profound characterization of the Jew Shylock and his framing of the dramatic confrontation between Portia and Shylock in the court make this play one of his praiseworthy comedies. The genre problem of this comedy has been relatively neglected. Some critics usually define this playas comedy because it observes the basic principles of festivity and a happy ending. But some critics pose this play somewhere in between tragedies and comedies, because it consists of compositions of a distinct kind. Many critics still disagree regarding the genre of this playas comedy. It is true that The Merchant of Venice abounds in a variety of comic elements. But comic scenes created by Launce]ot are generally episodic. They are not united with the plot of Shylock or the romantic stories of young lovers. Shylock's comic value results not from his design but through his ironical circumstances. Shakespeare's comic characterization of Shylock, the romantic stories of three pairs of young lovers, and Launcelot's buffoonery and witticisms cannot outweigh the darkness of Shylock's persistent vengeance. This play principally contradicts the basic requirements of comedy. The most important of them is to incite laughter. In The Merchant of Venice, the episodic moments of laughter give way to the serious sarcasm and cynicism volleyed by Shylock. The excellence of this comedy derives not so much from his comic skill as from his tragic dramaturgy.

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Abstract