Similarly , Bassey is to lose all his properties due to his mercilessness . However , unlike the way The Merchant ends , he is allowed to take his properties back with the condition of allowing for the marriage between his daughter , Tumininu , and Lassy . He agrees , and the play concludes happily with a reunion .
Conclusion This study highlights the possible influences on Shakespeare ’ s play with close references from the abovementioned hypotexts . It also identifies how Osofisan ’ s Love ’ s derives its plot , themes and dialogisms from The Merchant . It suffices to say that each of these playwrights deploys Bakhtin ‘ doublevoicing ’ ( All utterances depend on or call to other utterances ; no utterance itself is singular ) as they hybridise speeches from different traditions to mould theirs . 22 The colonial baggage and ‘‘ nostalgic longing for the ancient past ’’ 23 coupled with Osofisan ’ s understanding of Nigeria ' s socio-politicoeconomic realities , primarily when the play was staged in Port Harcourt , exemplify the chameleonic interplay between The Merchant of Venice and Love ’ s . The perennial cases of kidnapping in the Niger Delta , the local usurers engaging in some microfinance system , and Fowosanu ’ s inordinate pride - an archetype of many self-righteous people , serve as the backdrop for his adaption . Also , the chameleonic trait plays out in all these creative works . From Il Pecarone , The Orator , The Merchant and Zelauto to Love ’ s , it is evident that these texts primarily rely on their hypotexts . In addition , this study demonstrates the extent of Shakespeare ' s influence and the mutability of his work to suitably apply to other social contexts of different countries on the planet .
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