Shakespeare uses similar comic elements to effect
similar outcomes in his works. Many of his plays
utilize trickery and disguise to accomplish similar
Trickery plays a major role in The Merchant of
Venice and drives most of the action, while mistaken
identity, specifically Portia's disguise as the
'learned attorney's' representative, plays a major
role in the resolution of the play. The first
instance of trickery in the play is Bassanio's plan to
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Kernan. San Diego: HBJ, 1970. 165-173.
Oz, Avraham. The Doubling of Parts In Shakespearean
Comedy: Some Questions of Theory and Practice.
Shakespearean Comedy. Ed. Maurice Charney. New
York: New York Literary Forum, 1980. 175-184.
Rossiter, A.P. Much Ado About Nothing. William
Shakespeare: Modern Critical Views: Comedies &
Romances. Ed. Harlod Bloom. New York: Chelsea
House Publishers, 1986. 163-176.
Shakespeare, William. The Merchant of Venice.
Baltimore: Penguin, 1959.
Shakespeare, William. Much Ado About Nothing. New
York: Washington Square Press, 1964.