In 'The Merchant of Venice', Shakespeare successfully explores the phenomenon of mutual hatred/prejudice between the characters of Shylock and Antonio specifically. This came with religious, a central idea which was perhaps intended by Shakespeare to criticise religious conflicts occurring in the UK at the time between Protestants and Catholics. Furthermore, Shakespeare presents the concept of hatred as cyclical, as the conflicts between Antonio and Shylock are never resolved and continue to escalate as the play unfolds, however, given this is a Shakespearean comedy, the protagonist (Antonio) must come out on top. In the extract, Shylock remains intransigent as he repeatedly declares (he will) have (his) bond, of which Antonio will pay the ultimate price for. This further exaggerates the typical societal stereotype that many believed during the Elizabethan period, which people were avaricious, excessively obsessed, vengeful people. Shylock's inflexibility in his beliefs that he should rightfully be awarded the terms of the contract that he persuaded/established with Antonio on behalf of Bassanio. The declaration 'I will' highlights Shylock's desperation and obsession to claim the pound of Antonio's flesh, portraying him as blood-thirsty and vindictive. At this point in the play, Antonio becomes powerless as the might of the law transcends any money he is now deprived of. This was especially significant, as Venice, central to trade internationally, must be seen as law abiding and contract enforcing - however in this case, it comes with the price of one of its Christian citizens life. Antonio, resigned, accepts Shylock seeks (his) life, his reason well (he) knows, and once again takes on a melancholic form, feeling he has no where to go. The abstract noun reason explores morality and the concepts of right and wrong in Venice. Of the time, Antonio, a man of business himself, is forced to acknowledge the validity of contracts and the importance attached to following them. This becomes problematic for the audience as the Christian character is being dictated by a Jewish character, to the point where his life is at risk. Jews were vilified in England at the time, and often featured in literature as the scapegoats or heroines of plays' antagonists/plots. Furthermore, the cyclical nature of hatred is explored earlier in the text where Antonio makes apparent Shylock reveals the extremity of Antonio's mistreatment and malice towards him. He called him a 'misbeliever', 'cut-throat dog' and 'spat upon (Shylock's) gabardine'. At this point, Shylock is the victim and Antonio is the perpetrator, which leaves the audience/21st century audience feeling conflicted as who indeed has the moral high ground/religious prejudice or the past actions. The listed structure as to how this is presented conveys the relentless nature of Antonio's abuse towards Shylock. The noun 'misbeliever' makes a powerful statement proclaiming Shylock holds his beliefs in the wrong religion/is stony, reflecting the potency of antisemitic attitudes at the time. Additionally, the metaphor 'cut throat dog' conveys Shylock is animalistic and lacks human qualities/features. It almost validates the dire treatment of Jews was in fact considered ok as they were seen as animals. In the extract we see this idea resurface as Shylock warns Antonio that ‘since he is a dog’, he should ‘beware of his fangs’. This is explicitly shown in his speech is to abolish any remaining sympathy for Shylock, as it is clear his vengeance will stop at nothing, even if it means taking Antonio's life. The imagery of 'fangs' connotes violent, blood shedding and violence, conveying [Shylock's] twisted excitement over what he is about to be allowed to do. Resentment of Shylock is further developed within Portia's quality of mercy speech where Shylock is stone-faced even by the immensely powerful rhetoric Portia delivers under the guise of Balthazar. Shylock remains intransigent as Portia declares 'the quality of mercy is not strain'd' and 'it droppeth as the gentle rain from heaven', [It] is 'enthroned in the hearts of kings'. The verb 'strain'd' personifies mercy as something deeply ingrained within everything. 'Strain'd' explains not connotes imagery of it gamely wringing out a sponge, taking a lot of effort. This perhaps reveals Portia as a mouthpiece of Shakespeare's own belief that mercy cannot be forced or coerced, it must come naturally, which could once again reflect upon the religious conflict between Christianity occurring in England at the time. In contrast, the beautiful imagery of 'heaven' and 'gentle rain' connotes purity and attributes the quality of mercy to God or Jesus. In this case, it could be interpreted that Shylock would not be capable of such a trait given he doesn’t follow the Christian belief. However, additionally, it could foreshadow his forced conversion, and the fact he is forced to show mercy towards Antonio. In terms of the phenomenon of cyclical hatred the play ends with Antonio as the original Christian character coming out on top of Shylock who almost ironically is forced to convert. This is significant as it conforms to the typical Shakespearean comedy structure where despite the extensive turmoil throughout the play, it will always ends happily with the protagonist satisfied and the antagonist punished, reaping the consequences of their wrongdoing.