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Many schools and school boards have decided that The Merchant Of Venice is an unsuitable play for classroom study, on the grounds that it may be offensive to some students. The play famous for 'a pound of flesh', and the lines "If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge?". III, 1, 57-59 The Merchant Of Venice portrays a prejudiced message. All throughout the play, the Christians are battling with the Jew, Shylock, and neither of them will listen to the other, because their hearts are filled with intense prejudice. Some people would think the play itself was a racist. The reader might not want to portray the play to others, because of the villainous character of Shylock. The reader doesn't realize the Christians portrayal was just as bad as the Jewish man, Shylock's portrayal. The play teaches the reader about prejudice, why it is wrong. People would see how everyone was hurt at one time or another by a prejudice, whether it was the Christians mocking and making fun of Shylock or Shylock showing his prejudice to the Christians. This is first noticed in Act one when Shylock is openly saying to himself, "I hate him for he is a Christian....Curs'd be my tribe if I forgive him!" I, 3, 37-I, 3, 46-47. Antonio proves he is unwilling to change his prejudice feelings towards Shylock when he says, "I am as like to call thee so again, To spit on thee again, to spurn thee too." I, 3, 125-126 They do not realize their prejudiced attitudes and actions are portraying an ugly message to the reader and the reader is thinking, this is not suitable for younger children. Their messages could get themselves killed, which in fact comes very close to happening. This is a bad message that is portrayed to the reader. There is a motif of revenge in the play The Merchant Of Venice which also stuns the reader. Shylock has great hatred for Antonio, and his intent is getting revenge for all the things he assumes Antonio has done and said to him. "He hath disgraced me, and hindered me half a million, laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies"”and what's his reason? I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, What should his sufferance be by Christian example? Why, Revenge!". III, 1, 49-59 This clearly explains the intent of Shylock, the man who is mocked by the Christians. He wants revenge, and this is driving him too far. The readers will not like the motif that is presented by Shakespeare. They will want this play banned from school and will not want to show their children. The desire of revenge is almost inseparable. This play provides a point of view in which racism can grow and become only a bigger problem. It will teach the reader to hate another race and racial discrimination will only grow and grow. There are a lot of racial comments in this play, and could indeed have an effect on the reader and also influence them in the wrong way. There is a lot of racism, especially between Shylock and Antonio. They both hate each other immensely and all throughout the play they are both snapping back and forth at each other. The other is probably hurt from what the other is saying, but they are not showing it. There is racist comment that is 'a Negro's belly', which is censored in the newer versions of The Merchant Of Venice. This is a fact in the play that racism is occurring and this could have an effect on the society. This is a reason why the school boards might want to take this play out of the curriculum. As you can see, there are many reasons The Merchant Of Venice should not be taught in classrooms. Although there are many reasons, The Merchant Of Venice is an excellent play and it should not be removed from the classroom. A. Whitney Griswold said in a speech, "Books won't stay banned. They won't burn. Ideas won't go to jail. In the long run of history, the censor and the inquisitor have always lost. The only sure weapon against bad ideas is better ideas." This quote here, by A. Whitney Griswold, clearly states the bad idea of racism in the play should be viewed by a positive view of anti-racism and showing how wrong the racism is. Also, if the play were to be banned, why hasn't it been banned yet? If the play were to be banned because of the character and portrayal of Shylock, this would be wrong, because the Christians portrayal was just as bad as Shylock's. They ended up taking away his religion from him and the punishment that was given to him was even more severe than the one he had intended. If the play were to be banned, they would have to look at both sides of the arguments. Most readers are missing out on the point of Shylock's. He is a human and he has feelings as well. After a discussion, it is concluded that The Merchant Of Venice should not be banned by the school authorities. This is an excellent play to be taught, and the problem of racism everybody is facing today. This play should be taught properly by a teacher, who can explain the play's meaning, so the students do not miss any important points from it. The play can teach many new, great things to the reader, and it can also have a positive effect on them. The reader will understand the play has a point to it and how wrong all this revenge, prejudice, and racism is and can be. If this play is read correctly, it will stop one person from being racist, by teaching them it is wrong. This play is a strong, emotional read, and it should always remain in the classrooms, so the students can gain the knowledge of reading this.
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Many schools and school boards have decided that The Merchant Of Venice is an unsuitable play for classroom study, on the grounds that it may be offensive to some students. The play famous for 'a pound of flesh', and the lines "If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge?". III, 1, 57-59 The Merchant Of Venice portrays a prejudiced message. All throughout the play, the Christians are battling with the Jew, Shylock, and neither...
students do not miss any important points from it. The play can teach many new, great things to the reader, and it can also have a positive effect on them. The reader will understand the play has a point to it and how wrong all this revenge, prejudice, and racism is and can be. If this play is read correctly, it will stop one person from being racist, by teaching them it is wrong. This play is a strong, emotional read, and it should always remain in the classrooms, so the students can gain the knowledge of reading this.
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In examining the effects of a...In examining the effects of a work of literature on a reader, it is vitally important to understand why a reader completes the work. In other words, the forces that drive the reader to turn page after page of a novel are directly related to the entire reading experience "“ what values and stories the reader takes from the book, the overall feeling that the book creates within the reader, and impact of the reading on future actions of the reader. It is with this in mind that we turn to the claim that Tom Jones is the most "plot-driven" book in English. Although Henry Fielding's Tom Jones is an intricately plotted novel, it is not plot-driven. The force that drives the reader from page to page through the novel is not the plot, but rather the narrator. This is not necessarily an obvious insight, so we will take care to show its truth by presenting the narrator's argument for this interpretation, the logical consequences of such a claim, and an argument that the reader's reaction under Tom Jones as a plot-driven novel would not account for the novel's place in literary history today. Although the latter approach certainly ignores the readers of Tom Jones who did not finish or find any value within the work, any in-depth examination of those readers' experiences with the novel is not likely to yield anything of much interest. Thus, we will only consider the readers of Tom Jones who find it to be useful or interesting. Fielding, in the introduction to the final book, comparing the process of reading the novel to the travel of a Stage-Coach. This is a very useful metaphor for understanding the relationship between reader, narrator, plot, and novel. The Stage-Coach takes the trip from the Country to London, and travels around both locales rather extensively, visiting many houses and several inns and pubs. It also frequently jumps around from location to location, and leaps around in time, to revisit some events that it had previously skipped over. Thus, the linear passage of reading the novel "“ turning page after page, only going in one direction "“ is equivalent to the linear time it takes for this Stage-Coach to visit all these locations in space-time. The non-linear path the plot takes as its form is just the non-linear path that the Stage-Coach makes in its journey. Finally, to complete the picture, we must find the man who is navigating the Stage-Coach, and it is clear that this is none other than the narrator himself. He decides when we shall leave one character to visit another, and what pieces of the story to tell in what order "“ including skipping tantalizing details, such as Bridget Allworthy's deathbed message. Thus, the narrator has a dual role in the framework of Tom Jones, not unlike a talkative cab driver. He is both the driver of the story, who dictates our path with "We shall therefore take our Leave at present of Sophia", and also a constant companion in the passenger compartment, filling the journey with authorial commentary 549. This is the narrator's argument for the experience of reading Tom Jones: he has taken the reader as a passenger in his Stage-Coach, and is driving him down the road of a story, using the texture of the plot to comment on morality, reading, and life. The plot is placed in two dimensions, under the feet of the three-dimensional Stage-Coach, narrator, and reader. It is important to note that the reader is a character in this model. Although he is silent, he is the impetus for the journey and the commentary. This journey the story "“ of Tom Jones and Sophia "“ happens anew every time the passenger the reader enters the Stage-Coach the novel. It is also interesting to note that this model puts the reader very close to both the narrator and the book itself. The reader is physically inside the book; he is a character alongside the narrator. Instead of observing the action from outside the pages, Fielding invites the reader to sit with him inside the story, as he skillfully navigates through it. It is clear that this metaphor puts the insights of the narrator at a higher dimension and in much more direct connection to the reader than the plot itself. In addition, the metaphor implies that the narrator completely controls the plot. The reader interacts with the plot only through the narrator's guidance, and thus reading about Tom's exploits is more like listening to a good storyteller spinning a yarn than taking an emotional journey taken side-by-side with Tom. Yet, this is not troublesome to Fielding, since it allows him more control to provide insight as it pertains to the journey. He tells us, in the end, that his company in the passenger compartment is really what has kept us interested in this trip. He calls his insights "Pleasantr[ies]" and thinks that they might have "prevented thee from taking a Nap when it was beginning to steal upon thee" 595. Thus, as long journeys may often put us to sleep, even as they travel over a variety of terrain, an interesting companion sitting in the seat next to us will keep us alert. This is quite a remarkable assertion for Fielding to make, since he has certainly provided enough twists and turns in his plot to keep it an object of praise for centuries. Yet it is clear that his dedication to his commentary is total, and that his concern for the plot is at a much lesser degree. The care to which he edits Tom Jones in its fourth edition shows his love for the work; yet the end of the final book "“ which contains only plot, and no commentary "“ stands out as a particularly poorly-edited section of the novel, with three rather careless errors in only two pages 630-631. Editor Sheridan Baker, in one of his footnotes, explains one as a result of Fielding's "haste to wind things up" 630. If the plot were Fielding's darling creation, certainly he would delight in polishing off the story to its satisfying conclusion. However, not only does the end contain errors, it also rips through the action with frenetic speed, never really stopping to enjoy any of the moments of resolution. Thus, just as the driver of the Stage-Coach is more concerned with his driving than with the intricacies of the road beneath him, Fielding holds his narrator's commentary in much higher regard than the plot he has created to serve as his path. It is therefore easy to conclude that Fielding believes this narrator-driven Stage-Coach metaphor is apt; however, whether it is true for the reader is another matter entirely. Perhaps the best way to test this model is by contradiction. Let us assume that Tom Jones is a plot-driven novel. Then the motivating factor for the reader to read every line and turn every page is the desire to find out what happens next. This clearly delegates Fielding's commentaries and digressions to a secondary level, below the plot in importance. Furthermore, the reader must have developed some strong attachment to at least one of the characters in the novel to find the plot so captivating. However, there is simply not enough texture to any of the characters drawn in the plot provided in Tom Jones to place the characters as legendary in literary history. Tom himself seems no different in character from Country to London, sleeping with every woman who wants him along the way. The description of Tom's character is also constant, and fairly simple: a kind and honest heart, but wanting in prudence. While he may engage in some interesting rhetoric that displays some of the depth of his beliefs, these have little influence on the plot, and are therefore are unwanted for the plot-driven reader. Likewise, Sophia is forever saying and doing the same things throughout the novel. She has some very basic principles: she won't marry against her father's will, and she won't marry against her own will. She is always beautiful, and frequently frail. These characters are not strong or interesting enough to warrant an attachment that induces fervor for more details on their lives through 650 pages. The only other possibility is that the action of the novel, and not the characters, is the driving plot force, similar to The Count of Monte Cristo. However, the matters of plot in this story are simply not that exciting. The entire novel consists almost entirely of traveling and talking, with sprinklings of fighting and sex. In fact, a plot summary of Tom Jones could consist of two paragraphs about the first six books, two sentences about the next six, and four paragraphs about the last six books Bantam Notes Plot Summary on Tom Jones. The character portrayal and the depth of the plot are both insufficient to adequately drive a reader through the novel with the plot alone. It is clear that, if Tom Jones were plot-driven, it would have no place as one of the most significant contributions of the eighteenth century to English literature. The pleasantry of the novel, as Fielding puts it, is in the unique relationship that the narrator has with the reader: the narrator as driver. Fielding creates a relationship between his narrator and the reader out of the pages of Tom Jones, and uses the plot merely as a device to impart his delicious sense of humor and morality. The plot is interesting, but the novel is captivating; the difference lies in the way in which the narrator navigates and presents the plot to the reader.   

In examining the effects of a work of literature on a reader, it is vitally important to understand why a reader completes the work. In other words, the forces that drive the reader to turn page after page of a novel are directly related to the entire reading experience –...

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