Describe antonio and bassanios relationship with god

The Merchant of Venice is a 16th-century play written by William Shakespeare in which a Bassanio approaches his friend Antonio, a wealthy merchant of Venice who . English society in the Elizabethan era has been described as " judeophobic". .. by Paul Wagar, Antonio and Bassanio has a homosexual relationship. accept this in the case of Antonio and Bassanio's friendship, keeping in mind literature is full of reminders akin to Wilson's that “God ordeyned lending for . gious foundations, James Shapiro describes this relation of difference and. Antonio and Bassanio are the closest of friends, and it is their relationship in William Shakespeare's The Merchant of Venice that provides the foundation of the.

This story tells of homosexual relationships between men. If you are offended by this please leave. I present for your reading pleasure an alternative ending to The Merchant of Venice otherwise known as the way it should have been. This piece picks up from the end of Act IV… Bassanio quietly clicked shut the door and turned to face Antonio.

It brings a tear to my eye and a shudder to my breast to remember you standing there, so calmly awaiting your death. Or has mine eyes having recently been cleaned of their blindness cured thy sad soul. He turned and looked with a hope that bought tears to Bassanio's eyes. Thy did understand my words as I stood there ready to die? That I was blind for so long that it nearly cost me what was most important in my life…you.

Antonio held Bassanio close to him like he never thought he'd be able to do and wet his shoulder with his tears. Bassanio moved them to sit on the bed and held the normally calm, controlled merchant till his sobs quieted.

He smiled at the tear stained face knowing his own must look similar and not caring as he stared at his long time friend's face as if seeing it for the first time. His eyes tripped over the smooth planes of cheeks, long, dark lashes, soft black hair tumbling over a broad forehead.

He looked into dark eyes red from tears and slowly trailed his gaze down to soft looking lips and leaned closer intending to satisfy his curiosity, but a finger on his lips stopped him.

Antonio's Happy Ending, a shakespeare fanfic | FanFiction

Antonio's tapered fingers slowly traced Bassanio's lips. What of thy lady wife, Portia? His heart was prepared for breaking but beat on stronger than before at Bassanio's next words. Do you see her ring upon my finger or did I not at thy word give it to the man that saved thine, my true love's life? Bassanio gripped Antonio's shoulders. But now as I see clear…I love thee. I love thee, my Antonio. A smile nearly split Antonio's face and tears ran anew as he leaned forward to kiss the fair lips of his love, his Bassanio.

His soul knew joy at last and his heart never tried so hard to escape his chest as it did when Bassanio's lips met his. In their confessions and tears they noticed not the cracked door which the three friends, Solanio, Salerio and Gratiano peered through. Nor did they notice it close again as lips met long awaited lips, hands met in palmer's kiss and later found warm smooth skin over hard muscle as they explored masculine bodies that had not truly known touch till this moment.

Bassanio cleansed Antonio's body of the trial's foul touch far better than the forgotten bath could have. Outside Solanio and Salerio hid their chuckles behind their hands as Gratiano smirked at the closed door and remarked softly, "It's about time.

Downstairs the three friends said not a word to their companions but jovially paid in their bets to Solanio who happily accepted as he had won their pool of when the two friends would finally get together. Many times had they restrained themselves from just giving Bassanio a good shake for his blindness to Antonio's affection but it appeared that everything had turned out alright now. They laughed loudly to cover the noises coming from upstairs and conspired to help their friends, with plenty of opportunities for jokes on them as well of course.

A couple of hours later, upstairs, the two newly aware lovers lay in bed together and content. Awake they held each other as close as their tangled bodies would allow. Antonio kissed the neck of his lover tasting the salty sweat dried skin he found there.

Bassanio smiled and squirmed slightly. Are thy not tired yet? No strength left for ought but thinking of thee and my past fool blindness. Together they lay basking in the moonlight that streamed in from the open casement. Meanwhile, in Belmont, Portia is awash with suitors. Her father left a will stipulating each of her suitors must choose correctly from one of three caskets — made of gold, silver and lead respectively.

Whoever picks the right casket wins Portia's hand. The first suitor, the Prince of Morocco, chooses the gold casket, interpreting its slogan, "Who chooseth me shall gain what many men desire", as referring to Portia. The second suitor, the conceited Prince of Arragon, chooses the silver casket, which proclaims, "Who chooseth me shall get as much as he deserves", as he believes he is full of merit. Both suitors leave empty-handed, having rejected the lead casket because of the baseness of its material and the uninviting nature of its slogan, "Who chooseth me must give and hazard all he hath".

The last suitor is Bassanio, whom Portia wishes to succeed, having met him before. Shylock has become more determined to exact revenge from Christians because his daughter Jessica eloped with the Christian Lorenzo and converted. She took a substantial amount of Shylock's wealth with her, as well as a turquoise ring which Shylock had been given by his late wife, Leah.

Shylock has Antonio brought before court. At Belmont, Bassanio receives a letter telling him that Antonio has been unable to repay the loan from Shylock. Portia and Bassanio marry, as do Gratiano and Portia's handmaid Nerissa. Bassanio and Gratiano leave for Venicewith money from Portia, to save Antonio's life by offering the money to Shylock. Unknown to Bassanio and Gratiano, Portia sent her servant, Balthazar, to seek the counsel of Portia's cousin, Bellario, a lawyer, at Padua.

The climax of the play takes place in the court of the Duke of Venice. Shylock refuses Bassanio's offer of 6, ducats, twice the amount of the loan. He demands his pound of flesh from Antonio. The Duke, wishing to save Antonio but unable to nullify a contract, refers the case to a visitor. He identifies himself as Balthasar, a young male "doctor of the law", bearing a letter of recommendation to the Duke from the learned lawyer Bellario. The doctor is Portia in disguise, and the law clerk who accompanies her is Nerissa, also disguised as a man.

As Balthasar, Portia repeatedly asks Shylock to show mercy in a famous speechadvising him that mercy "is twice blest: It blesseth him that gives and him that takes" IV, i, However, Shylock adamantly refuses any compensations and insists on the pound of flesh. As the court grants Shylock his bond and Antonio prepares for Shylock's knife, Portia deftly appropriates Shylock's argument for "specific performance".

She says that the contract allows Shylock to remove only the flesh, not the "blood", of Antonio see quibble. Thus, if Shylock were to shed any drop of Antonio's blood, his "lands and goods" would be forfeited under Venetian laws.

She tells him that he must cut precisely one pound of flesh, no more, no less; she advises him that "if the scale do turn, But in the estimation of a hair, Thou diest and all thy goods are confiscate. She cites a law under which Shylock, as a Jew and therefore an "alien", having attempted to take the life of a citizen, has forfeited his property, half to the government and half to Antonio, leaving his life at the mercy of the Duke.

The Duke pardons Shylock's life. Antonio asks for his share "in use" until Shylock's death, when the principal will be given to Lorenzo and Jessica. At Antonio's request, the Duke grants remission of the state's half of forfeiture, but on the condition that Shylock convert to Christianity and bequeath his entire estate to Lorenzo and Jessica IV,i. Bassanio does not recognise his disguised wife, but offers to give a present to the supposed lawyer.

First she declines, but after he insists, Portia requests his ring and Antonio's gloves. Antonio parts with his gloves without a second thought, but Bassanio gives the ring only after much persuasion from Antonio, as earlier in the play he promised his wife never to lose, sell or give it. Nerissa, as the lawyer's clerk, succeeds in likewise retrieving her ring from Gratiano, who does not see through her disguise.

At Belmont, Portia and Nerissa taunt and pretend to accuse their husbands before revealing they were really the lawyer and his clerk in disguise V. After all the other characters make amends, Antonio learns from Portia that three of his ships were not stranded and have returned safely after all.

The title page from a printing of Giovanni Fiorentino's 14th-century tale Il Pecorone The first page of The Merchant of Venice, printed in the Second Folio of The forfeit of a merchant's deadly bond after standing surety for a friend's loan was a common tale in England in the late 16th century.

The play was mentioned by Francis Meres inso it must have been familiar on the stage by that date. The title page of the first edition in states that it had been performed "divers times" by that date. Salerino's reference to his ship the Andrew I,i,27 is thought to be an allusion to the Spanish ship St. A date of —97 is considered consistent with the play's style. The play was entered in the Register of the Stationers Companythe method at that time of obtaining copyright for a new play, by James Roberts on 22 July under the title The Merchant of Venice, otherwise called The Jew of Venice.

On 28 October Roberts transferred his right to the play to the stationer Thomas Heyes ; Heyes published the first quarto before the end of the year. It was printed again inas part of William Jaggard's so-called False Folio.

Afterward, Thomas Heyes' son and heir Laurence Heyes asked for and was granted a confirmation of his right to the play, on 8 July The edition is generally regarded as being accurate and reliable. It is the basis of the text published in the First Foliowhich adds a number of stage directions, mainly musical cues. Critics today still continue to argue over the play's stance on the Jews and Judaism. Shylock and Jessica by Maurycy Gottlieb. Shylock as a villain[ edit ] English society in the Elizabethan era has been described as "judeophobic".

In Venice and in some other places, Jews were required to wear a red hat at all times in public to make sure that they were easily identified, and had to live in a ghetto protected by Christian guards. One interpretation of the play's structure is that Shakespeare meant to contrast the mercy of the main Christian characters with the vengefulness of a Jew, who lacks the religious grace to comprehend mercy.

Similarly, it is possible that Shakespeare meant Shylock's forced conversion to Christianity to be a " happy ending " for the character, as, to a Christian audience, it saves his soul and allows him to enter Heaven.

The Nazis used the usurious Shylock for their propaganda. Shortly after Kristallnacht inThe Merchant of Venice was broadcast for propagandistic ends over the German airwaves. This was the first known attempt by a dramatist to reverse the negative stereotype that Shylock personified.

With slight variations much of English literature up until the 20th century depicts the Jew as "a monied, cruel, lecherous, avaricious outsider tolerated only because of his golden hoard".

Character Of Bassanio(Merchant of Venice)

Many modern readers and theatregoers have read the play as a plea for tolerance, noting that Shylock is a sympathetic character.

They cite as evidence that Shylock's "trial" at the end of the play is a mockery of justice, with Portia acting as a judge when she has no right to do so. The characters who berated Shylock for dishonesty resort to trickery in order to win. In addition, Shakespeare gives Shylock one of his most eloquent speeches: Why, I am sure, if he forfeit, thou wilt not take his flesh.

What's that good for? To bait fish withal; if it will feed nothing else, it will feed my revenge.