Although considered light and enjoyable entertainment, Shakespeare's comedic plays often address serious issues confronting Elizabethan values ​​of propriety and decorum social. Anti-Semitism, death and homosexuality are frequent themes woven into his plays and the latter is addressed in Much Ado About Nothing and The Merchant of Venice. By exposing the inherent bonds that flow between men, Shakespeare justifies their acts of loyalty and devotion with measures that test men's love; it is then that the reader understands the desire of Bassanio and Claudio to favor their masculine relationships rather than romantic ones. Battling mutual experiences, the men in Much Ado About Nothing and The Merchant of Venice are bound by bonds of loyalty, devotion, and love that far exceed the strength of the heterosexual marriages in the plays. Shakespeare cleverly designs this divide between the sexes to break down the conservatism of Elizabethan notions of propriety. Say no to plagiarism. Get a custom essay on “Why Violent Video Games Should Not Be Banned”?Get the original essayThe homosocial bonds in Much Ado About Nothing are immediately established in the play's introduction. The men are announced to the women of Messina as an arriving group of valiant gentlemen from a well-fought war. War itself is a highly masculine affair, an event where passionate, testosterone-filled men fight side by side and are either slain by one man's sword or saved by the hand of another. Blood and sweat are shed and shared, forming a gooey bond for a brotherhood whose members are embroiled in trials of pain, defeat, and triumph. Don Pedro, Prince of Aragon, is the president of his fraternity. Loyalty, deference, and respect are the benefits of her alpha station, and the male hierarchical structure brings order to the play's homosocial bonds. The notion of war as a masculine activity is also prevalent in The Merchant of Venice, but it must be considered on a smaller, more subtle scale between individual characters. Shakespeare uses the images of blood, pain, and money as character traits for Antonio and Shylock. contract in The Merchant of Venice since all three characteristics are exceptionally phallic and masculine in nature. The arrangement symbolically exposes two rudiments of homosocial bonds. The motivation of both parties involved is strongly masculine. After hearing about Shylocks' extreme recovery conditions (in the event of default), Antonio demonstrates his deep devotion to Bassanio when he agrees to serve as his guarantor. It is unclear whether Antonio's love is homosexual in nature, but his loyalty and strong affections cannot be interpreted as purely platonic. At one point, he said he was ready to give up his “handbag, my person, my most extreme means” to Bassanio. Lie ye all unlocked for your occasion” (1.1.140). Shylock's incentive to impose such a ruthless collection of Antonio's flesh is motivated. by his hatred for Antonio as a man, a man who battered Shylock's pride with his publicly insulted anti-semantic epithets. From his bloody harshness alone, it can be assumed that Shylock would never have imposed such a dreadful consequence on a borrower. The pain caused by cutting off a pound of flesh is unthinkable for a woman, but not for a man. Antonio's inability to repay the debt triggers a declaration of war between Shylock and himself and assesses Bassanio's allegianceto Antonio. Antonio's ability to sacrifice his flesh and blood for Bassanio's happiness speaks volumes about his love, and his acts of loyalty are not unrequited. Bassanio's abandoned pride in accepting Portia's funds for the excursion to Venice, coupled with his willingness to leave his new wife, shows his loyalty to Antonio. Loyalty is a priority in homosocial relationships, and at one point in the play Portia wonders if Bassanior would give up their love for Antonio. Following Antonio's release from Shylock's bail, Bassanio wishes to pay Portia (dressed in a manly disguise) a fee for her legal services in freeing Antonio. Initially resistant to Portia's demand for her alliance, claiming that "it depends on more than value" (4.1.439), Bassanio is eventually persuaded by Antonio to "let her have the ring. Let her merits and my love of side. Be valued.” d 'against the command of your wife" (4.1.454-456). In this scene, Antonio clearly asserts his dominance over Portia. He successfully assures Bassanio that their love and loyalty take precedence over Bassanio's marriage to Portia , and that no ring is worth paying for the services rendered to save their homosocial relationship Portia's response to Bassanio's abandonment of the ring is comparable to that of a lover scorned by infidelity; she brings up an anecdote of her own infidelity in an attempt to punish his emotions. Portia's retort confirms that she is threatened by the breadth and depth of the homosocial bond between Antonio and Bassanio. the two men who are also established in the same way between Don Pedro and Claudio's relationship in Much Ado About Nothing The homosocial bond between young Claudio and Don Pedro is analogous to that of a father and his son, or between male brothers and sisters. Don Pedro serves as his mentor and advisor on all things related to love and life. Don Pedro grants Claudio his approval as Hero and does him a favor by wooing the girl for him. Claudio, young and impressionable, is so taken with Don Pedro that he believes the man's advice and counsel, regardless of the outcome. As an illustration, one must consider Claudio's reaction upon hearing Don John's accusation regarding Don Pedro's efforts to woo Hero for himself. Claudio rationalizes Don Pedro's behavior by stating, "Friendship is constant in all other things." Except in functions and affairs of love” (2.1.153-154). However, it is interesting to note that when Claudio proclaims this, he simultaneously decides to cease his attempts to acquire Hero, essentially deferring to Don Pedro's whim. Additionally, he contradictorily chooses Don Pedro's friendship over the pursuit of Hero, despite his proclamations that love trumps friendships. Also note who Claudio associates with after learning of Hero's supposed infidelity---it's no coincidence that Don Pedro is Claudio's backbone. Benedick's desire to challenge Claudio to a duel to avenge Hero's honor may appear to be a decision influenced by women. His temperament has changed drastically regarding his homosocial loyalty to his crew. When Beatrice implores Benedick to kill Claudio, he initially refuses and Beatrice resorts to attacking the force of her love, declaring: "I have left although I am here. There is no love in you . ---No, please, let me go” (4.2.291). She further appeals to Benedick's desire to "prove" his love by stating, "Use your love in another way than to swear by it." (4.2.320). These challenges to Benedick's declaration of love, coupled with his vigorous desires for Beatrice,.