Some Literary Devices In Each Act
Act 1
Scene 2
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Portia alludes to Sibylla and Diana, a prophetess in ancient times, famous for her extreme old age, and the Roman goddess of feminine virtue and purity, respectively. Portia is saying that she will remain unmarried for the rest of her life, until a man chooses the right casket and gains the right to marry her.
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Scene 3
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Antonio advises Bassanio to beware of Shylock's words by using "like" to metaphorically compare Shylock to the devil. Antonio portrays Shylock as a man who is able to the sugarcoat bad things and make them appear acceptable. |
Act 2
Scene 5
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The audience knows that Lorenzo will come and help Jessica with her escape from her father's house on that night itself. Shylock does not know that all this will happen under his nose while he is dining with Bassanio.
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Scene 7
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Morocco is comparing Portia's picture to a gem. He says that Portia's picture is of so high value, like a rare gem, that it deserves to be put in nothing less valuable than a gold casket. |
Scene 7
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Morocco uses exaggeration to say that the beauty of Portia is so great that men travel from the all over the world, crossing deserts, crossing through the oceans like they were tiny streams, to look upon her beauty and try to woo her. |
Act 3
Scene 1
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Salerio personifies Report as an old woman who tells him what she hears about Antonio's ships. |
Scene 1
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Solanio is comparing Jessica to a bird that is ready to leave its mother and fly. Jessica is at the age where she can make her own decisions and she made the decision to run away from her father, Shylock, and elope with Lorenzo.
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Scene 2
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Shylock repeats the phrase "I'll have my bond" three times and forbids Antonio to speak three times emphasizes Shylock's mercilessness adamancy in having the forfeiture of his bond, which is a pound of Antonio's flesh. |
Scene 2
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Bassanio states that Portia's eyes are so beautiful to the extent that the painter would go blind after having painted one of Portia's eyes, and wouldn't be able to paint the other eye. |
Scene 4
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The audience knows that Portia and Nerrisa going to a monastery is to trick other characters of the play into thinking that they are going to remain in Belmont. Actually, they are going to Venice, disguised as men. |
Act 4
Scene 1
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Bassanio says that he would even sacrifice his wife, Portia, to save Antonio from Shylock's grasp. The audience is aware of the fact that Bassanio is saying it in front of Portia, who is disguised as the doctor, but Bassanio does not know that the doctor is Portia. |
Scene 1
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As Shylock is about to cut a pound of flesh from Antonio, Portia stops Shylock from cutting by revealing a loophole in Shylock's bond. Shylock must cut a pound of Antonio's flesh without Antonio shedding a single drop of blood. Portia's action prevents Antonio from dying. |
Scene 1
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Antonio is asking everyone to the do the impossible by telling the high tide to not reach its usual height, asking the mother sheep to not cry when the wolf killed her lamb, and telling the pine trees on the mountain to not sway and rustle when the wind blows through them. Antonio states it would be easier to do the impossible than try and soften Shylock's Jewish heart. Antonio exaggerates to highlight the fact that Shylock will never change his mind. |
Act 5
Scene 1
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Bassanio pleads to Portia that if only she knew who he gave the ring away to and how hard was it for him to give the ring away, then she wouldn't be so angry at him. Both Portia and the audience know that Bassanio gave the ring to the Doctor Balthazar, who is Portia in disguise, but Bassanio does not know that Balthazar is indeed Portia in the disguise of a man. |
Scene 1
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Lorenzo describes moonlight as a person who sleeps on the bank. He also personifies music by giving it the human ability of movement, in this case, a person who slowly approaches him and Jessica. |