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The Swan Theatre 
 
SHAKESPEARE'S 
 
 THE MERCHANT 
 
 OF VENICE 
 
 EDITED BY 
 CMALPH TAYLOR, A.B. 
 
 FORMERLY JUNIOR MASTER, 
 GIRLS' HIGH SCHOOL, BOSTON 
 
 F. M. AMBROSE AND COMPANY 
 
 NEW YORK AND BOSTON 
 
 1920 
 
4$ 
 
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 ^ 
 
 Copyright, 1920 r 
 
 BY 
 
 F. M. AMBROSE & CO 
 
 APR - 1 1920 
 
 ©CU565439 
 
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 CONTENTS 
 
 £5 PAGE 
 
 Introduction . . 7 
 
 The Life of Shakespeare 7 
 
 Shakespeare's Plays: Chronological Arrangement . 8 
 
 The Theatre in Shakespeare's Time .... 10 
 
 How to Understand a Play 12 
 
 The Date, and the Sources of the Plot . . . .15 
 
 The Metre 16 
 
 Metre in General 16 
 
 The Metre of The Merchant of Venice ... 17 
 
 Backgrounds of the Play . . .... 19 
 
 The Attitude toward the Jews 19 
 
 The Italian Setting 20 
 
 Ideas of Medicine 21 
 
 The Laws Regarding Interest 22 
 
 The Italian Duke 23 
 
 Masques 23 
 
 Analysis of the Plots 25 
 
 Comments on the Characters 26 
 
 The Different Interpretations of Shylock' s Character. 26 
 
 Portia . . .27 
 
 Antonio . . . ... _ 31 
 
 Bassanio ......... 32 
 
 Jessica . 32 
 
 Gratiano 33 
 
 Nerissa 34 
 
 Stage Costumes 34 
 
 3 
 
4 CONTENTS 
 
 PAGE 
 
 Dramatis Personae 38 
 
 The Text . 39 
 
 Act I 30 
 
 Act II 57 
 
 Act III . 83 
 
 Act IV 107 
 
 ActV 126 
 
 Notes on the Text . ...... 137 
 
 A Study of the Play 167 
 
 Index .187 
 
 ILLUSTRATIONS 
 
 The Swan Theatre Frontispiece 
 
 LANCELOT AND GoBBO . 60 
 
 Shylock at Home 70 
 
 Bassanio's Choice . 92 
 
 "I'll Have My Bond" 100 
 
PREFACE 
 
 The edition aims to present the interesting backgrounds of the 
 play, to interpret the text through annotations, and to supply 
 the student with such suggestive questions as will stimulate 
 thoughtful study and encourage mental reaction. 
 
 With these aims in mind, the editor has first shown how to 
 understand a play, how to analyze the plots of this particular 
 drama, and what there is of interest in the backgrounds of the 
 play, — i.e. how the social life of the times' is reflected in it. In 
 interpreting the text, such notes are given as will afford a clear 
 understanding of the context without presenting an exhaustive 
 etymological disquisition. Finally, to stimulate profitable study 
 and mental reaction, there has been added a series of lessons, 
 with leading questions and suggested memory work. These 
 are intended to give defmiteness to the individual or class study 
 and to provoke further discussion rather than to supplant the 
 teacher's and student's questions. 
 
 In general, the text of the Globe Edition has been followed. 
 However, in some instances the punctuation has been altered; 
 and where the editor has felt that the weight of authority justi- 
 fied it, he has changed the wording of the text. Where the 
 omission of lines has come under consideration, it has been 
 deemed wiser to omit these passages rather than offer a lame 
 substitute. 
 
INTRODUCTION 
 
 THE LIFE OF SHAKESPEARE 
 
 William Shakespeare was born at Stratford-upon-Avon, in 
 April, 1564. The official record in the Parish Church of Stratford 
 has this baptism entry, for the year 1564: April 26th Gulielmus, 
 filius, Johannes Shakespeare. Since it was the custom to have 
 children baptized on the third day after birth, it would seem that 
 the date to be accepted as the poet's birthday is April 23. 
 
 John Shakespeare, his father, lived in Henley Street. He was 
 a glover and dealer in wool and other country produce. His 
 mother, Mary Arden, came from an old Warwickshire family. 
 William was the third child, and after his birth five other children 
 were born. 
 
 The family lived in comfort when William was a child. His 
 mother had possessed a considerable estate. His father, when 
 the child was five years old, was elected to the office of High 
 Bailiff, or Mayor. But this comfort was to last for but a short 
 time. In 1578 the father became involved in debt and effected 
 a mortgage of £10. upon his wife's estate. 
 
 Very few facts are known about the boyhood of William. It 
 is probable that he attended the Grammar School at Stratford. 
 Ben Jonson speaks of the poet's having acquired a "little Latin 
 and less Greek". From his writings we must conclude that he 
 somewhere gained no inconsiderable classical education. He 
 quoted from Virgil, Horace, Terence, and Seneca. One may see 
 in the Museum at Stratford the desk that tradition says was 
 occupied by the boy. 
 
 In 1582 the boy of eighteen married Anne Hathaway, who was 
 eight years his senior. She lived in the little village of Shot- 
 tery, a mile away from Stratford. Her home is to-day in the 
 hands of descendants and is a shrine for many pilgrims. The 
 long, two-storied house is approached by a paved path, bordered 
 by flower beds. The latticed windows peep from beneath the 
 overhanging thatch roof. Their first child, Susanna, was born 
 in 1583, and the twins Judith and Hamnet in 1585. 
 
8 THE MERCHANT OF VENICE 
 
 There are several traditions regarding youthful escapades 
 of -Shakespeare, but little reliability can be placed upon their 
 truth. Sir Thomas Lucy is said to have had him whipped on 
 account of the boy's stealing of venison and rabbits from his 
 private park. 
 
 It would seem that the year after his marriage Shakespeare 
 went to London, where he became an actor. Beginning in a 
 very humble capacity, he worked his way upward. At once he 
 began the writing of plays. It is agreed that his first play was 
 Love's Labour Lost, which appeared about 1591. He was then 
 twenty-seven. For nineteen years (1591-1610) he continued 
 the writing of plays, the last being The Tempest. 
 
 That he was a good actor seems beyond doubt. An old stage 
 tradition speaks of him as the original Mercutio in Romeo and 
 Juliet. He became prosperous and was highly honored in Lon- 
 don. This enabled him to help his father in a court action and 
 also to recover some of the property that had formerly belonged 
 to his mother, but which had become heavily mortgaged. 
 
 The poet spent his last days, after 1612, in his old home vil- 
 lage of. Stratford. Here he had left his family when he went 
 away to the city. He purchased New Place, one of the largest 
 houses in the town. Although he paid several visits to the 
 city, he spent most of the time quietly at home. 
 
 Shakespeare died on April 23, 1616 and was buried in the 
 Stratford church. His wife and two daughters, Susanna and 
 Judith, were living at the time of his death. 
 
 SHAKESPEARE'S PLAYS 
 
 A Chronological Arrangement 
 1590-1611 
 
 Comedies Histories Tragedies 
 
 Love's Labour Lost 
 Comedy of Errors 1 Henry VI 
 2 Henry VI 
 Two Gentlemen of Richard III Romeo and Juliet 
 
 Verona 3 Henry VI 
 
 King John Titus Andronicus 
 
INTRODUCTION 
 
 II. 
 
 Comedies 
 A Midsummer 
 
 Night's Dream 
 All's Well that 
 
 Ends Well 
 Taming of the 
 
 Shrew 
 
 Merry Wives of 
 Windsor 
 
 Merchant of Ven- 
 ice 
 
 Much Ado About 
 Nothing 
 
 As You Like It 
 
 Histories 
 Richard II 
 
 1 Henry IV 
 
 2 Henry IV 
 
 Henry V 
 
 Tragedies 
 
 III. Twelfth Night 
 
 Troilus and Cres- 
 
 sida 
 Measure for Measure 
 
 Pericles 
 
 Julius Caesar 
 Hamlet 
 
 Othello 
 Macbeth 
 King Lear 
 Timon of Athens 
 Antony and Cleo- 
 patra 
 
 IV. 
 
 Cymbeline 
 Winter's Tale 
 The Tempest 
 
 Henry VIII 
 
 Coriolanus 
 
 I. Period of Apprenticeship. 1590-1593 Love Plays. 
 
 II. Period of Attainment. 1594-1599 Comedies of love. 
 
 III. Period of Gloom. 1600-1608 Gloomy tragedies. 
 
 IV . Period of Quietude . 1 609-1 61 1 Plays of quiet life . 
 
10 THE MERCHANT OF VENICE 
 
 THE THEATRE IN SHAKESPEARE'S TIME 
 
 The early productions were given in the courtyards of inns. 
 The balconies of these inns served well as galleries. Troupes 
 of actors went from town to town, giving performances. 
 
 But the strong feeling of the Puritans against theatrical enter- 
 tainments resulted in a law which prevented any theatre being 
 built within the precincts of the city of London. James Bur- 
 bage, who had successfully organized one of these traveling 
 troupes of actors, decided, in 1574, to build a theatre on the banks 
 of the Thames, just outside the city limits. He had given per- 
 formances at Stratford, and undoubtedly the boy Shake- 
 speare had witnessed some. The spot selected by Burbage was 
 the site of a former monastery of the "Black Brothers," and the 
 name given to the new playhouse was Blackfriars Theatre. 
 When Shakespeare came to London as a young man, it was 
 probably at this theatre that he secured employment. Other 
 theatres followed this: The Curtain, The Globe, The Fortune, 
 The Swan, and The Rose. 
 
 Burbage 's theatre was round in shape; some of these buildings 
 had the shape of a polygon. Only the stage and the boxes were 
 covered; the poor people were not protected from the weather. 
 The floor, now the location of the orchestra seats, was at that 
 time called the " pit ". It was occupied by the poor people, 
 who paid a penny as their admission price. They sat on boxes 
 or on the bare ground. Above them was the open sky. Shake- 
 speare, in Hamlet, speaks of them as "groundlings". There 
 were one or two balconies which ran around the walls, and 
 over the stage was another balcony used by the wealthy people. 
 It was also customary for those who paid the highest admission 
 price (perhaps two shillings) to sit on the stage itself, and to 
 feel free, at times, to promenade upon the stage. One of the 
 balconies, near the stage, was used by the red-liveried members 
 of the orchestra. 
 
 The conduct of the "groundlings" was far from commendable. 
 They ate food, played cards, drank freely, and kept up a noisy 
 disturbance which at times became boisterous. At times they 
 would jeer at the actors, and they were known to vent their 
 feelings by throwing food at the players. 
 
 Covered boxes near the stage were called the "lords' rooms". 
 
INTRODUCTION 11 
 
 Either here or on the stage sat the wealthy people. The "ground- 
 lings" often displayed their feeling toward them. 
 
 The stage was a platform which extended well out into the 
 "pit". Back of it was a two-storied structure, — the first floor 
 serving as a dressing-room, and the second floor as a part of the 
 stage setting and also as a box for lords and ladies of the audi- 
 ence. Painted movable scenery was not known before 1600, 
 and a change of scene was announced by a printed notice, — as, 
 for example: Venice; A Forest. Black sky-hangings were used 
 in tragedies and blue in comedies. Sometimes there was an 
 inner stage setting, which would be revealed by the withdraw- 
 ing of a curtain. It is doubtful, however, if there were any 
 drop-curtain on the front of the stage. On account of this 
 absence of a curtain, there was no such scene division as we are 
 accustomed to have. You will find that the scene divisions 
 are not to be seen in the early folios. This necessitated, at the 
 end of a scene of tragedy the dragging off the stage of the bodies 
 of the dead. There was a trap-door in the centre of the stage 
 to be used when ghosts appeared. The floor was strewn with 
 rushes, giving it the color of nature. The actors would bring 
 on the stage the furniture needed, as chairs, tables, and trees. 
 In a war scene a tent might be set up and given a label to indi- 
 cate that it represented an encamped army. One device to 
 indicate a change of location of a scene would be for one actor 
 to invite another to walk with him to another town ; in this way 
 the audience became aware that the scene had shifted. Then 
 again, the audience were accustomed to tell by the door through 
 which an actor entered whether a scene had changed its setting. 
 
 The parts were all taken by men or boys with treble voices. 
 Coarse as the plays were in Shakespeare's day, they lacked the 
 greater coarseness of a later period when women began to take 
 part in the performances of the degenerate nature of the Res- 
 toration plays. Probably few women were to be found in the 
 audience. The costumes of the actors were gorgeous. It was 
 the custom for each actor to secure his own costumes, and no 
 effort was made to suit a costume to a part. Julius Caesar 
 might appear in a robe that the actor had hired or bought from 
 an English lord. 
 
 A weekly salary was paid the actors; the best actors, however, 
 served as the managers of their own theatres. 
 
12 THE MERCHANT OF VENICE 
 
 Performances took place every day, including Sunday. The 
 hour of commencement was announced by the blowing of a 
 trumpet from the roof of the theatre. Posters were used to 
 advertise the play, but no programs were printed. This is 
 important to remember, for we depend, to-day, upon the program 
 to learn the setting and characters of the play. In reading a 
 Shakespeare play it is a good plan to study to see if you can find 
 out m what way an audience in Shakespeare's days might de- 
 termine these two things. As a further announcement of the 
 commencement of the play, a flag was raised on the roof of the 
 building. The performances came in the afternoon of necessity, 
 since there was no means of lighting the theatre; and they 
 lasted from two to two and a half hours. 
 
 When the play opened, there would first be a parade of all 
 the actors on the stage. The prologue was then read by a per- 
 son wearing a long black robe. Between the acts there were 
 musical interludes, pantomimes, and the dancing of clowns. 
 Although the Queen never went to the theatre, it was customary 
 to have a prayer offered for her, during which all the actors knelt. 
 Such plays as the Queen witnessed were given at the Castle. 
 Shakespeare and his company frequently went to the Castle 
 to present plays before Her Majesty. 
 
 HOW TO UNDERSTAND A PLAY 
 
 The technical study of a play is of secondary importance to 
 the enjoyment of the play that is gained by each reader's perus- 
 ing the story to gain his own impressions, regardless of technical 
 laws. However, there are certain terms and rules of the game, 
 as it were, that are valuable to the study of a play. 
 
 1. Tragedy. — A tragedy is a serious play, dealing with seri- 
 ous themes, especially with suffering. It must end unhappily 
 to be a tragedy. For example, Macbeth deals with the murder 
 of Duncan and the death of Macbeth and Lady Macbeth. 
 Other tragedies also occur in the story. 
 
 2. Comedy. — A comedy is a play that deals with the fol- 
 lies and absurdities of life. It thus is in contrast to the tragedy, 
 since it avoids the portrayal of suffering and ends happily. The 
 under plot of a tragedy may introduce a comic situation. This, 
 however, is not done as a major element in the play, but is put in 
 
INTRODUCTION 13 
 
 to relieve the tension of the tragic situation or to make more 
 impressive the succeeding tragic action. Some of Shake- 
 speare's plays are of such a character as to seem to intermingle 
 the tragic and comic. Measure for Measure, for example, which 
 was written at a time when the poet was experiencing unhappi- 
 ness in his own life, has considerable of the dark and painful 
 element in it. 
 
 Modern comedies are in most instances one of two kinds: 
 (1) Farce, dealing with some absurdity of custom, (2) Burlesque, 
 the ludicrous and exaggerated parody upon the more serious 
 things of life. 
 
 3. The Title.— The title of a play should be fitting. Gold- 
 smith's She Stoops to Conquer is well named, for the plot centres 
 about the stooping of Kate Hardcastle to the position of bar- 
 maid, a position she assumes for the purpose of spying upon the 
 actions of others, and as a result of which she conquers a lover. 
 Is The Merchant of Venice well named? Is Antonio the central 
 figure? What character do the great actors choose? 
 
 4. The Unities. — The idea of the unities is traced to the writ- 
 ings of Aristotle. It was claimed that there should be three 
 unities in a drama: (1) of Place, (2) of Time, (3) of Action. 
 The first unity requires that there shall be no extensive change 
 of scene; the second unity requires that the entire action occur 
 within 24 hours; and the third unity requires that all the inci- 
 dents of the drama centre about a single plot. Aristotle in- 
 sisted that only one of these unities is necessary, — that of action. 
 Shakespeare also observed but this one. How far are the uni- 
 ties observed in The Merchant of Venice? 
 
 5. The Exposition. — By exposition is meant the necessary 
 information regarding the actions of the characters prior to the 
 time when the play opens, also the plans or intentions they have 
 in mind. We must know this in order to follow the action of 
 the play. In the plays of Shakespeare the Prologue served 
 this purpose in part. In the prologue we learri what has pre- 
 ceded the action at the beginning of the first scene. In other 
 plays we learn these facts from the speeches in the first act. 
 Sometimes one character talks to another and tells him incidents 
 that he already knows, but which the audience need to know. 
 Thus Bassanio tells Antonio of his needs of money and of his 
 plan to win it. This comes in the first act. 
 
14 THE MERCHANT OF VENICE 
 
 6. The Struggle. — The basis of the plot of a drama lies in the 
 fact that there are two opposing forces or desires that come in 
 conflict. One character has a desire for something, but there 
 are obstacles that come in the way to prevent the fulfilment of 
 this desire. This obstacle may be something within him, 
 something without him, or the opposing will of another charac- 
 ter. Without this struggle the drama would be lifeless and unin- 
 teresting. We enjoy watching this struggle and we become inter- 
 ested to see how it is coming out. In a tragedy, the battle is 
 lost; in a comedy there are none the less obstacles, but they are 
 not of the tragic kind. 
 
 7. Climax. — Not only the play as a whole, but each act 
 should have a climax. In a plot there are different incidents, 
 all leadmg up to one of greatest importance, which is called the 
 climax. It is this arrangement of the incidents that gives the 
 play its compelling interest. 
 
 8. The Denouement. — The climax is the high water mark 
 of the plot. Following this there may be a few incidents that 
 serve to unravel the tangle into which the action has come. 
 This letting down of the action is called the denouement. 
 Shakespeare is careful not to have the action stop abruptly at 
 the climax; he follows it by a bit of action or speaking that 
 softens the sharp tone of the climax. Otherwise we should be 
 stirred to deep emotion and left there with nothing to quiet the 
 feeling. It is interesting to observe the invariable use he makes 
 of this device. 
 
 9. The Mystery. — In a novel we are kept until the end to 
 learn the solution of the mystery. The suspense is sustained 
 until a final climax is reached. This cannot be done in a play. 
 Very early we learn what is likely to be the fate of the charac- 
 ters. Our pleasure comes in observing the way in which the 
 characters, who do not know what we of the audience do know, 
 struggle and are in perplexity over the situations in which they 
 are placed. 
 
 10. Character Portrayal. — To live permanently, a play must 
 have strong character portrayal. We get great enjoyment from 
 the plot, especially if it has a good deal of movement; but in 
 the last analysis, it is the living, vital, natural characterizations 
 that make the play one of lasting importance. It is this that 
 makes the dramas of Shakespeare so great and permanent. In 
 
INTRODUCTION 15 
 
 a play like The Merchant of Venice there are several most im- 
 probable situations as far as the action goes. The choosing of 
 the caskets and the legal phases of the court scene present many 
 improbabilities, but these are of secondary importance in the 
 face of the wonderful portrayal of Shylock's character. It is 
 this character portrayal that forms the basis of our deepest 
 study. Shakespeare wrote of types of life that people of his day 
 would know and appreciate, but he had the genius as did none 
 of his contemporaries to so weave his picture of the characters 
 that they seem to belong to any age. 
 
 THE DATE AND THE SOURCES OF THE PLOT 
 
 1 . The Date. — The Merchant of Venice was probably written in 
 1598, as witnessed by the appearance of the name of the play on 
 a list of plays which appeared that year, and as further evidenced 
 by the entry on the Register of the Stationers' Company. It was 
 published two years later, 1600, in two Quartos. The title of 
 one of these Quartos reads: "The most excellent Historie of 
 the Merchant of Venice. With the extreame crueltie of Shy- 
 locke the Iewe towards the sayd Merchant, in cutting a iust 
 pound of his flesh: and the'obtayning of Portia by the choyse of 
 three chests. As it hath beene diners times acted by the Lord 
 Chamberlaine his Seruants. Written by William Shakespeare At 
 London, Printed by I. R., for Thomas Heyes, and are to be sold in 
 Paules Church-yard, at the signe of the Greene Dragon. 1600." 
 
 2. Sources of the Plot. — The probability is that the story 
 of the play was patterned from a tale in II Perorone, a collec- 
 tion of short stories by Giovanni Florentino, which had been 
 published some forty years before the play appeared. This tale 
 relates how a wealthy merchant befriends a young kinsman, who 
 is seeking the hand of a rich lady in Belmont and who, in order 
 to win her, must pass a certain test. The merchant engages 
 with a wealthy Jew to secure the money needed by the kinsman, 
 the bond becomes forfeit after the loss of the merchant's ships, 
 and the death of the unfortunate merchant at the hands of the 
 cruel Jew seems imminent. The lady assumes the garments of 
 a lawyer, enters the court, and turns the scales in favor of the 
 merchant in the same way as in the play. The incidents follow- 
 ing closely resemble the story of the play. Shakespeare, how- 
 
16 THE MERCHANT OF VENICE 
 
 ever, introduced the idea of the caskets into the original story. 
 This may have come from a similar idea in one of the stories in 
 the Gesta Jtomanorum, a Latin compilation of stories of the Middle 
 
 THE METRE 
 I. Metre in General 
 
 Metre is the rhythmic arrangement of syllables in poetry. 
 The rhythm depends upon the accent which comes at regular 
 intervals, just as in music. 
 
 Every line, or verse, of poetry is made up of groups of syllables, 
 each group having an accented syllable and either one or two 
 unaccented syllables. The group itself is called a foot. We 
 may represent the accented syllable of the foot by a mark ( — ) 
 and the unaccented syllable by another mark (^— ). The end 
 of the foot may be indicated by what in music would be called 
 a bar ( | ). Notice the markings of this familiar line: 
 -~| — I - r \ -v-| 
 
 Tell me not in mournful numbers 
 
 A verse of one foot is called monometer; of two feet, dimeter; 
 of three feet, trimeter; of four feet, tetrameter; of five feet, 
 pentameter; of six feet, hexameter.* What would you call the 
 line given above? 
 
 The ancient Greeks gave us the names we use for the different 
 kinds of feet as well as for the different kinds of metre. Thus, a 
 trochaic foot is a foot having an accented and an unaccented 
 syllable ( — *-" ) ; an iambic foot is one having an unaccented and 
 an accented syllable (^ — ); a dactylic foot is one having an 
 accented and two unaccented syllables ( — ^ ^ ) ; an anapaes- 
 tic foot is one having two unaccented and an accented syllable 
 (— ' w — ) ; and a spondaic foot is one having two accented syl- 
 lables ( ). The first line of The Merchant of Venice is thus 
 
 marked: 
 
 |~- I- -I— I — I 
 
 In sooth I know not why I am so sad; 
 
 The line is called iambic pentameter, — each foot being iambic 
 and the line having five feet. What would you call the line 
 quoted before this? 
 
 The standard line in Shakespeare's plays is iambic pentameter. 
 It is called heroic verse. 
 
INTRODUCTION 17 
 
 Blank verse is unrhymed verse. Most of Shakespeare's lines 
 are unrhymed, although you will occasionally find near the end 
 of a scene a few that are rhymed. For example, in The Merchant 
 of Venice, notice the last lines of Act II, Scene 5: 
 
 Shylock. Fast bind, fast find, — 
 A proverb never stale in thrifty mind. 
 
 Jessica. Farewell; and if my fortune be not crost, 
 I have a father, you a daughter, lost. 
 
 II. The Metre of the Merchant of Venice 
 
 1. Use of Prose. — Abbott, in A Shakespearean Grammar, 
 says: "Prose is not only used in comic scenes; it is adopted for 
 letters (Merchant of Venice IV. 1. 149-164), and on other occa- 
 sions where it is desirable to lower the dramatic pitch. ... It 
 is also used to express frenzy, . . . and madness, . . . and the 
 higher flights of the imagination." 
 
 Poetry is better suited than is prose to express the lighter 
 moods of love and joy, as in the love scene in Act V. It gives 
 life and vivacity to a scene where much action is needed, as in 
 the court scene. Prose, on the contrary, better expresses the 
 calmer mood of contemplation, and it is suited to a scene where 
 the speakers are quietly discussing a general question, as in the 
 scene where Portia and Nerissa are talking over the suitors. 
 An unemotional character may well reveal his lack of sensibility 
 by using prose, as does Launcelot throughout the play. Prose, 
 then, may show the mood either of a situation or of a character. 
 This play affords opportunity for a considerable use of it. 
 
 2. Use of Rhyme. — Abbott says: "Rhyme was often used as 
 an effective termination at the end of a scene. When the scen- 
 ery was not changed, or the arrangements were so defective that 
 the change was not easily perceptible, it was, perhaps, addi- 
 tionally desirable to mark that a scene was finished. . . . Rhyme 
 was also sometimes used in the same conventional way, to mark 
 an aside, which otherwise the audience might have great diffi- 
 culty in knowing to be an aside." 
 
 The earliest plays of Shakespeare, like Love's Labour Lost, 
 make a very considerable use of rhymed verse. In this early 
 period, besides producing plays he was writing a good many 
 poems; and the influence of this is found in the appearance of 
 
18 THE MERCHANT OF VENICE 
 
 so much rhymed verse in the early plays. Gradually there came 
 to be a diminished use of rhyme. 
 
 In this play we find rhymed couplets used either at the end 
 of a scene or when an actor is making his exit. It is apparent 
 that Shakespeare has in mind the intention of expressing a change 
 of mood or an intensifying of mood in this variation from blank 
 verse. For example, at the end of Act II, Portia has just bid 
 farewell to Arragon, after the moments of considerable tension ; 
 and she is told of Bassanio's approach. The rhymed lines well 
 express the awakening of happier emotion. Nerissa, in a sim- 
 ilar mood, echoes the sentiment by adding a rhymed line. 
 
 3. Varied Forms of Verse. — The normal verse, in Shake- 
 speare's plays, as we know, is iambic pentameter, — heroic verse. 
 
 There are a good many variations, however, from this standard. 
 
 (1) One or two syllables are sometimes added at the end of the line. 
 
 W _|w - I w - |w-|w_|~ 
 
 And the same prayer doth teach us all to rend er 
 How doth that roy al mer chant, good An to ni o ? 
 
 (2) Some lines are incomplete. 
 
 What sum owes he the Jew? 
 
 At times, however, the next speaker completes the metrical line: 
 
 Bas. For me, three thou sand due ats. 
 
 - I- - I 
 Port. What, no more? 
 
 (3) At times a trochaic foot appears to vary the metre. 
 
 — ^ I 1 —» — : I .-— -I--I 
 
 Rating my self at noth ing, you shall see. 
 
 (4) Where there is a pause within the line, there may appear 
 an added syllable. 
 
 I lose your com pany: therefore forbear a while. 
 
 (5) Occasionally the Alexandrine is used. This line has six 
 accents. One form is the trimeter couplet. 
 
 ~ - | w-| w-|| w -|^-| r -| 
 
 Who choos eth me shall gain what ma ny men desire. 
 
INTRODUCTION 19 
 
 BACKGROUNDS OF THE PLAY 
 1. The Attitude Toward the Jews 
 
 In the time in which the play was written, there was a most 
 unfair and cruel treatment of the Jews in England. In 1594, 
 which was about the time the play was written, Dr. Lopez, 
 who had been at one time court physician to Queen Elizabeth, 
 was hanged under the false suspicion of having attempted to 
 poison the queen. Frequently there had been severe persecu- 
 tions of these people. Way back in 1290, Edward I had issued 
 an edict, driving them from England, and leaving in the hands 
 of the king all their property. This edict had been in force 
 throughout the three hundred years up to Elizabeth's day. 
 They had continued to live secretly in England, but it was not 
 until the eighteenth century that they were privileged to enjoy 
 civil rights in England. In Italy, however, the treatment 
 had been much more charitable; and they were to be found in 
 all the cities, living in comparative peace. 
 
 We must remember that the play was written by an English 
 writer who lived in the age of intolerance toward these people. 
 There would be little sympathy for Shylock among the people 
 in the audiences that listened to Shakespeare's plays. 
 
 At the time that this play was being produced, there was 
 being acted a new play, The Jew of Malta, written by Marlowe. 
 This was most unfair to the Jews, but it received a popular ver- 
 dict of approval. Then again, in 1701, Lord Lansdowne wrote 
 a new version of The Merchant of Venice, in which Shylcck was 
 made to be a comic character of the coarsest kind. This won 
 much approval in its day, but it was a false perversion of the 
 interpretation of Shylock's character as Shakespeare intended 
 it to be. 
 
 In 1814, the great Shakespearean actor, Kean, ventured to 
 give a new interpretation of the play. He maintained that 
 Shylock had been misunderstood, and he represented him as a 
 man who had the wrongs of his people at heart and whose em- 
 bitterment was justified by the treatment he received from the 
 other characters in the play. This interpretation has been 
 imitated by most of the great actors since the time of Kean. 
 To-day it is this attitude that is generally taken toward Shy- 
 
20 THE MERCHANT OF VENICE 
 
 lock and toward the play. Interpreting it in this light, the 
 play is raised far above the coarse burlesque nature that it had 
 in the intolerant days of old. 
 
 2. The Italian Setting 
 
 a. Venice. — We should keep in mind the ideas which pre- 
 vailed in England in the time of Shakespeare of the magnificence 
 of Venice. In the age of the poet, Venice was gazed on with 
 admiration by the people of every country, and by none with 
 more devotion than those of England. Her merchants were 
 princes, her palaces were adorned with the works of Titian, and 
 she was the seat of all pleasant delights, "the pleasure-place of 
 all festivity, the revel of the world, the masque of Italy." Coryat, 
 an English traveler, speaks of the palazzos of the merchants in 
 the vicinity of the city, of the Rialto, and of the Ghetto, one of 
 the islands on which the Jews lived, who were in number five 
 or six thousand. He describes their dress: those born in Italy 
 wearing red hats, while the Eastern Jews wore yellow turbans. — 
 
 Hunter: New Illustrations. 
 b. Padua. — Elze, in his Shakespeare Jahrbuch, describes the 
 University of Padua at the close of the sixteenth century, when 
 so great was the university's reputation everywhere that there 
 were at one time representatives of twenty-three nations among 
 its students. From the lists of these students it appears "that 
 not a few Englishmen took up their abode in Padua for a longer 
 or shorter time for the purpose of study, and all of whom must 
 have visited Venice also; and it is to be inferred that the num- 
 ber of English travelers who visited the city of the Doges must 
 have been much larger than is commonly supposed. Hereby is 
 disclosed another source, not hitherto noticed, whence a knowl- 
 edge of Venetian customs and manners reached England. Shake- 
 speare, if he did not visit Italy, may have obtained his knowledge 
 from those who pursued their studies in Padua." Padua is 
 twenty-two miles from Venice in a south-westerly direction. 
 It has many notable palaces. In one of its houses Dante lived 
 for a time. Livy was born in this city. The University of 
 Padua, founded in 1222, was famous throughout the Middle 
 Ages. At first law was the principal study. This fact must have 
 influenced Shakespeare in the choice of this city for this play. 
 
INTRODUCTION ' 21 
 
 c. Belmont. — Belmont, the home of Portia, was probably 
 selected as being at a convenient distance from Padua. 
 
 d. The Italian Dress. — The merchant wore a doublet and hose. 
 He had a gown which was long and dark, the skirt open at the 
 sides. This was bound by a silk sash. In addition, he wore a 
 cape, ruffs, a merchant's flat cap, and gloves. The lover, like 
 Bassanio, wore a doublet and silk or satin breeches, lace ruff, a 
 silk bonnet, a silk cloak, silk stockings, Spanish morocco shoes, 
 gloves, and a handkerchief. The lady of means, like Portia, 
 wore a robe of cloth of gold, a silk veil, a jewelled chain, and 
 strings of beads in the hair. The Jew wore a gaberdine, which 
 was a loose cloak of dark color. The turban has been men- 
 tioned. The Jewish maiden wore, according to the interpre- 
 tation of the actor Booth, a yellow sash or veil of orange color. 
 As a lawyer, Portia wore silk or velvet robes, black in color. 
 Nerissa, as the lawyer's clerk, wore no gown like Portia's, but 
 had a doublet and hose. 
 
 3. Ideas of Medicine 
 
 The time of Elizabeth marks the beginning of what might be 
 called modern study of medicine. This study dates from the 
 remarkable discovery made by Harvey, of the circulation of the 
 blood. There were physicians of eminence in Shakespeare's 
 day, but they had not gotten away from the ancient ideas of 
 alchemy and astrology. Look up these words and read some- 
 thing about them. The physicians were well educated and 
 generally studied abroad, at Padua, Heidelburg, and at other 
 university cities. It was just a few days before Shakespeare's 
 death that Harvey delivered a course of lectures in which he 
 presented the idea of the circulation of the blood. This was 
 destined to revolutionize the science of medicine. Twice in 
 the play we find references to the blood in the body. Gratiano 
 says (Act I. Sc. 1. Line 81): 
 
 And let my liver rather heat with wine 
 Than my heart cool with mortifying groans. 
 
 This illustrates the strange belief of Shakespeare's time that 
 every time one sighs or groans one loses a drop of blood. 
 Again, Bassanio says (Act III. Sc. 2. Line 86): 
 
 Who, inward search'd, have livers white as milk; 
 
22 THE MERCHANT OF VENICE 
 
 The liver of a coward was believed to be bloodless, an idea based 
 upon the theory of Hippocrates. 
 
 This crude belief, together with the theories regarding what 
 were called humours, led to the practice of cupping. There 
 were said to be four of these humours, or fluids, in the body: 
 blood, phlegm, choler, and melancholy. As they individually 
 prevailed, a person would be sanguine, or phlegmatic, or choleric, 
 or melancholy. Cupping was the process of removing the blood, 
 to diminish the surplus of fluid that occasioned one or another 
 of these temperaments. The cupping was done by a barber, 
 who also acted as the dentist of these days. Occasionally the 
 blacksmith was called upon to extract teeth; and he served as a 
 bone-setter for the physicians. When you realize that no anti- 
 septics were used, you will imagine what the people suffered 
 from the treatment. 
 
 Most peculiar ideas prevailed regarding medicine. Pills 
 were known to be made of the skull of a man who had been 
 hanged. Chips from the hangman's tree were used as a remedy 
 for the ague. To cure a child of the rickets, he 'was passed, 
 head downwards, through a tree that was split open and then 
 tied up. As the tree healed, the child was supposed to recover. 
 Several references are made in Shakespeare's plays to the cure 
 by means of the royal touch. Jaundice was thought to have a 
 mental cause. Thus, Gratiano says (Act I. Sc. 1. Line 85): 
 
 Sleep when he wakes, and creep into the jaundice 
 By being peevish? 
 
 Again, stones were thought to have healing powers. Sapphire 
 was said to give courage, topaz to cure madness (Remember 
 Sir Topaz. In what play?), coral to preserve one from enchant- 
 ment. Shylock was in agony when he learned of the loss of 
 his turquoise (Act III. Sc. 1. Line 100). It was believed that the 
 color of the turquoise would change with the health of the one 
 who wore it, and that the stone was a trustworthy sentinel to 
 forewarn one of impending peril. 
 
 4. The Laws Regarding Interest 
 
 Both Churchmen and laymen of the Middle Ages interpreted 
 the law of Moses to forbid the taking of interest for the use 
 of money. Any interest was regarded as usury. From the 
 
INTRODUCTION . 23 
 
 reign of King Alfred to that of Henry VIII all interest was legally 
 forbidden in England. This prohibition led to many evasions 
 of the law and to an emphasis upon what were called "damages". 
 When money was loaned, a contract was drawn up, which re- 
 quired that damages be paid in case the borrower should default. 
 This is the basis of the bond arrangement of this play. A stat- 
 ute in the reign of Henry VIII allowed interest to the amount 
 of 10 per cent to be charged. This maximum was reduced in the 
 reign of Queen Anne, to 5 per cent. 
 
 5. The Italian Duke 
 
 In the early part of the second century, the title of duke was 
 used in the Roman empire to signify a general. In the fourth 
 century there was a separation of the civil and military duties. 
 The dukes became judges in military trials. In Italy, however, 
 they soon centralized in their own hands both the civil and 
 military powers. Dukes, in this older European sense, did not 
 appear in early England. From the first, the title as used in 
 England signified a mere honorary distinction. When Queen 
 Elizabeth came to the throne, she found only one duke, the 
 Duke of Norfolk. In more recent times, a considerable number 
 of peers of the first rank have been given this title of duke. 
 We see the title used in this play in the old European sense, in- 
 cluding legal and military authority. 
 
 6. Masques 
 
 Shyl. What, are there masques? Hear you me, Jessica: 
 Lock up my doors; and when you hear the drum 
 And the vile squeaking of the wry-neck'd fife, 
 Clamber not you up to the casements then, 
 Nor thrust your head into the public street 
 To gaze on Christian fools with varnish'd faces. 
 
 It is fitting that Shakespeare should have introduced such a 
 masque, or masquerade, as we should call it, into this play, which 
 has an Italian setting, for the use of masks at costume balls orig- 
 inated in Italy, where the domino, or half mask, worn by the 
 ladies, became especially popular. Then, too, it was the time 
 when the formal masque, or masked performance, a type of 
 play which Shakespeare's contemporary Ben Jonson wrote, 
 
24 . THE MERCHANT OF VENICE 
 
 was very popular. In Jonson's Tale of a Tub (V. 2) are these 
 lines : 
 
 Pan. A masque, what's that? 
 
 Scri. A mumming or a shew, 
 With vizards and fine clothes. 
 
 Clench. A disguise, neighbor, 
 Is the true word. 
 
 Elze, as quoted by Furness, says: "To him who is unac- 
 quainted with the old customs of the Venetians, it must seem 
 to be a very extraordinary, nay, almost fantastic, invention of 
 the Poet to represent Lorenzo as slinking away with his friends 
 from a supper whereto they had been invited by Bassanio, to 
 go to a masquerade, when it was not even carnival time. Such 
 an idea could be conceived of in no other country, not even in 
 any other state of Italy, except in Venice, although the custom 
 of wearing masks was at that time very common; but here in 
 Venice it was practiced universally, and at all seasons of the 
 year. It was thus that the Doge, who appeared in public only 
 on state occasions, visited the Opera, attended by only a single 
 servant; he was then incognito. The Officers of State and 
 the Magnificoes appeared in masks, on the evenings when new 
 Ambassadors were received. Thus, the dignitaries of the Church 
 and State wore at least half-masks, whereby all formal cere- 
 monies were avoided, and a freer intercourse took place instead. 
 Thus a Venetian lady had her mask at hand, just like her fan 
 and her handkerchief, as Shakespeare has intimated, in Othello 
 (IV. 2). And thus, then, among the gay and livelier young 
 people, a play with masks was not unusual. That torch-bearers 
 were also needed arose from the fact that the streets were a 
 tangle and the street-lighting deficient." 
 
 Taine says: "From the accession of Henry VIII to the death 
 of James I we find nothing but tournaments, processions, public 
 entries, masquerades. First came the royal banquets, corona- 
 tion displays, large and noisy pleasures of Henry VIII." Taine 
 goes on to quote from Holinshed: " '(At Wolsey's banquet) 
 there wanted no dames or damosels, meet or apt to danse with 
 the maskers, or to garnish the place for the time : then was there 
 all kind of musike and harmonie, with fine voices both of men and 
 children. On a time the king came suddenlie thither in a maske 
 with a dozen maskers all in garments like sheepheards, made of 
 
INTRODUCTION 25 
 
 fine cloth of gold and crimosin sattin paned, . . . having six- 
 teene torch-bearers. ... In came a new banket before the 
 king wherein were served two hundred diverse dishes, of costlie 
 devises and subtilities. Thus passed they foorth the night 
 with banketting, dansing, and other triumphs, to the great com- 
 fort of the king, and pleasant regard of the nobilitie there as- 
 sembled.' " 
 
 ANALYSIS OF THE PLOTS 
 
 A study of the play reveals five distinct plots: 
 
 I. The story of the bond. 
 
 II. The story of the caskets. 
 
 III. The story of Launcelot and his father. 
 
 IV. The story of Lorenzo and Jessica. 
 
 V. The story of the two rings. 
 
 One of these plots must be called the main plot; which one? 
 
 In analyzing these different plots, two things should be looked 
 for: (1) The names of the characters in each; (2) A brief synop- 
 sis of each story. Such an outline as the following might be 
 put in your note-book. It is suggested that the first reading of 
 the play be for the purpose of getting an outline of the various 
 stories, and that an outline of the following nature be used: 
 
 I II III IV V 
 
 Bond Caskets Launcelot- Lorenzo- Two Rings 
 Story Story Father Story Jessica Story Story 
 
 Characters : (make a list under each plot heading) 
 
 Act I 
 
 Scene I (Story) — — — 
 
 Scene II (Story) — — — 
 
 etc. 
 
 Another way of analyzing the play is to go through the story 
 and note in each scene the following points: 
 
 I. The Setting. 
 
 By setting is meant the time and place of the 
 scene. The place is usually given, so that it is 
 not hard to determine this; but the time is usu- 
 
26 THE MERCHANT OF VENICE 
 
 ally to be determined from the text, and this 
 requires some thought to find out. 
 II. The Characters. 
 
 The names of those that appear in the scene. 
 III. The Plot. 
 
 A very brief synopsis of the story. This might 
 also include the purpose the writer had in the 
 scene. To determine this, ask the question: 
 What does the scene accomplish? 
 
 COMMENTS ON THE CHARACTERS 
 1. The Different Interpretations of Shylock's Character 
 
 The character of Shylock is the key-note of the play. Mod- 
 ern actors put such a different interpretation on the character 
 than did those of Shakespeare's times that before approaching 
 a serious study of the play it becomes necessary to decide at 
 the outset what interpretation you are to put on Shylock's 
 character. 
 
 In the main, there are two interpretations: 
 
 1. Shylock is, as Gratiano calls him (Act IV. 1, 127), 
 
 an "inexorable dog", and as the Duke says, (Act 
 IV. 1. 4-5) "an inhuman wretch uncapable of 
 pity". 
 
 2. Shylock is, as Hazlitt says, "the depositary of the 
 
 vengeance of the race", — that is, his seeming cru- 
 elty is only the voice that speaks for a people that 
 have for generations suffered untold persecution. 
 This is well shown in his own words (Act III. Sc. 1. 
 line 63-72): "If you prick us, do we not bleed? 
 if you tickle us, do we not laugh? if you poison us, 
 do we not die? and if you wrong us, shall we not 
 revenge? If we are like you in the rest, we will 
 resemble you in that. If a Jew wrong a Christian, 
 what is his humility? Revenge. If a Christian 
 wrong a Jew, what should his sufferance be, by 
 Christian example? Why, revenge. The vil- 
 lainy you teach me, I will execute; and it shall go 
 hard but I will better the instruction." 
 
INTRODUCTION 27 
 
 We must approach the character of Shylock by one or the 
 other of these two roads, and our decision in this will determine 
 our attitude in general toward the whole play. Although there 
 is considerable discussion as to the interpretation that was given 
 by the audience in Shakespeare's time, and as to the attitude 
 taken by Shakespeare himself, there is no doubt, from what has 
 been shown regarding the attitude of the people of Elizabeth's 
 day toward the Jews that there was little real sympathy for 
 Shylock. On the other hand, there is a great difference in the 
 treatment Shakespeare gives toward the Jew and in that given 
 by Marlowe in a contemporary play, The Jew of Malta. Mar- 
 lowe makes the Jew a brutal fiend, and his play met with great 
 approval from the audiences of the day. Shylock is called "an 
 inexorable dog", but it is b} 7 one of the other characters in the 
 play, — one who is naturally prejudiced against him. 
 
 In 1701, Lord Lansdowne produced a comic version of the 
 play. This coarse interpretation of the character of Shylock 
 met with great approval, but it misrepresents the original ver- 
 sion. The age was still intolerant of the Jew. 
 
 Early in the nineteenth century, the actor Kean rejected the 
 former interpretation of the character of Shylock and introduced 
 the new interpretation, that of making him "the depositary of 
 the vengeance of the race". This version was retained by 
 later actors, Macready, Henry Irving, and Lawrence Barrett. 
 The great American actor, Edwin Booth, however, took the 
 earlier version, feeling that Shylock was a cruel father and a 
 wolfish usurer. 
 
 Now how are we to approach the play? If we are to be true 
 to Shakespeare, we must regard Shylock as did the other charac- 
 ters in the play and not be influenced by the sympathetic and 
 tolerant spirit of our own age. On the other hand, if we allow 
 the spirit of our times to dominate, we shall pity Shylock and 
 sympathize with him. 
 
 2. Portia 
 
 "I think of her as the cherished child of a noble father, — a 
 father proud of his child's beauty, and of the promise which he 
 sees in her of rare gifts. These gifts he spares no pains to foster. 
 He is himself no ordinary man. He anticipates the danger to 
 
28 THE MERCHANT OF VENICE 
 
 which the beautiful and wealthy heiress may be exposed; and 
 it was by one of those 'good inspirations' which, as Nerissa 
 says, 'holy men have at their death', (I. 2. 27) that he fixed 
 upon the device of the three caskets, 'whereof who chooses his 
 meaning chooses' his beloved daughter. From the first his aim 
 has been to train her to succeed him in his high position. With 
 this view he has surrounded her with all that is beautiful in art 
 and ennobling in study, and placed her in the society of scholars, 
 poets, soldiers, statesmen, the picked and noblest minds of her 
 own and other lands. 
 
 "Among this throng of honoured guests, not the least honoured 
 was the 'learned cousin, Dr. Bellario'. This cousin of hers we 
 may suppose to have been a constant visitor at .princely Bel- 
 mont, and, indeed, to have been her instructor in jurisprudence. 
 . . . Perhaps they have, even in these early days, 'turned over 
 many books together' (IV. 1. 155). Her father may have seen 
 with pleased surprise the bias of her mind toward such studies; 
 and this, as well as her affection for her learned teacher, may 
 have led him to take her to some of the famous trials of the day, 
 so that when her own hour of trial comes, when heart and head 
 must alike be strong, and her self-possession is taxed to the 
 uttermost, she knows at least the forms of the court, and through 
 no technical ignorance would be likely to betray herself." — 
 Lady Martin, Shakespeare's Female Characters. 
 
 "Portia, Isabella, Beatrice, and Rosalind may be classed to- 
 gether, as characters of intellect, because when compared with 
 others, they are at once distinguished by their mental superior- 
 ity. In Portia it is intellect kindled into romance by a poetical 
 imagination; in Isabel, it is intellect elevated by religious prin- 
 ciple; in Beatrice, intellect animated by spirit; in Rosalind, 
 intellect softened by sensibility. The wit which is lavished on 
 each is profound, or pointed, or sparlding, or playful — but 
 always feminine; . . . the wit of Portia is like ottar of roses, 
 rich and concentrated; that of Rosalind, like cotton dipped in 
 aromatic vinegar; the wit of Beatrice is like sal volatile; and 
 that of Isabel, like the incense wafted to heaven. ... If con- 
 sidered as women and individuals, as breathing realities, clothed 
 in flesh and blood, I believe we must assign the first rank to 
 Portia, as uniting in herself, in a more eminent degree than the 
 
INTRODUCTION 29 
 
 others, all the noblest and most lovable qualities that ever met 
 together in woman. 
 
 "Portia is endued with her own share of those delightful qual- 
 ities which Shakespeare has lavished on many of his female 
 characters; but, besides the dignity, the sweetness, and tender- 
 ness which should distinguish her sex generally, she is individual- 
 ized, by qualities peculiar to herself; by her high mental powers, 
 her enthusiasm of temperament, her decision of purpose, and 
 her buoyancy of spirit. . . . 
 
 "The sudden plan which she forms for the release of her hus- 
 band's friend, her disguise, and her deportment as the young 
 and learned doctor, would appear forced and improbable in 
 any other woman, but in Portia are the simple and natural re- 
 sult of her character. The quickness with which she perceives 
 the legal advantage which may be taken of the circumstances, 
 the spirit of adventure with which she engages in the masquer- 
 ading, and the decision, firmness, and intelligence with which 
 she executes her generous purpose, are all in perfect keeping, 
 and nothing appears forced — nothing as introduced merely for 
 theatrical effect. 
 
 "But all the finest parts of Portia's character are brought to 
 bear in the trial scene. There she shines forth, all her divine 
 self. Her intellectual powers, her elevated sense of religion, 
 her high honourable principles, her best feelings as a woman, are 
 all displayed. She maintains at first a calm self-command, as 
 one sure of carrying her point in the end; yet the painful heart- 
 thrilling uncertainty in which she keeps the whole court, until 
 suspense verges upon agony, is not contrived for effect merely; 
 it is necessary and inevitable. She has two objects in view: to 
 deliver her husband's friend, and to maintain her husband's 
 honour by the discharge of his just debt, though paid out of 
 her own wealth ten times over. It is evident that she would 
 rather owe the safety of Antonio to anything rather than the 
 legal quibble with which her cousin Bellario has armed her, and 
 which she reserves as a last resource. Thus all the speeches 
 addressed to Shylock in the first instance are either direct or 
 indirect experiments on his temper and feelings. . . . She 
 begins with an appeal to his mercy . . . but in vain. . . . 
 Then she appeals both to his avarice and his pity. ... So 
 unwilling is her sanguine and generous spirit to resign all hope, 
 
30 THE MERCHANT OF VENICE 
 
 or to believe that humanity is absolutely extinct in the bosom 
 of the Jew, that she calls on Antonio, as a last resource, to speak 
 for himself. . . . 
 
 "At last the crisis arrives, for patience and womanhood can 
 endure no longer; and when Shylock . . . springs on his vic- 
 tim — 'A sentence! come, prepare!' — then the smothered scorn, 
 indignation, and disgust burst forth with an impetuosity which 
 interferes with the judicial solemnity she has at first affected. 
 . . . But she afterwards recovers her propriety, and triumphs 
 with a cooler scorn and a more self-possessed exultation. 
 
 "A prominent feature in Portia's character is that confiding, 
 buoyant spirit, which mingles with all her thoughts and affec- 
 tions. And here let me observe, that I never yet met in real 
 life, nor ever read in tale or history, of any woman, distinguished 
 for intellect of the highest order, who was not also remarkable 
 for this trusting spirit, this hopefulness and cheerfulness of 
 temper, which is compatible with the most serious habits of 
 thought, and the most profound sensibility. . . . Portia's 
 strength of intellect takes a natural tinge from the flush and 
 bloom of her young and prosperous existence, and from her fer- 
 vent imagination. In the casket scene, she fears indeed the 
 issue of the trial, on which more than her life is hazarded; but 
 while she trembles, her hope is stronger than her fear. . . . 
 
 "Her subsequent surrender of herself in heart and soul, of 
 her maiden freedom, and her vast possessions, can never be 
 read without deep emotions ; for not only all the tenderness and 
 delicacy of devoted woman are here blended with all the dignity 
 which becomes the princely heiress of Belmont, but the serious, 
 measured self-possession of her address to her lover, when all 
 suspense is over, and all concealment superfluous, is most beauti- 
 fully consistent with the character. ... In Portia's confes- 
 sion — 'You see me, Lord Bassanio, where I stand,' etc. — which 
 is not breathed from a moonlit balcony, but spoken openly in 
 the presence of her attendants and vassals, there is nothing of 
 the passionate self-abandonment of Juliet, nor of the artless 
 simplicity of Miranda, but a consciousness and a tender serious- 
 ness, approaching to solemnity, which are not less touching. . . . 
 
 "In the last act, Shylock and his machinations being dis- 
 missed from our thoughts and the rest of the dramatis personae 
 assembled together at Belmont, all our interest and all our at- 
 
INTRODUCTION 31 
 
 tention are riveted on Portia, and the conclusion leaves the most 
 delightful impression on the fancy. The playful equivoque of 
 the rings, the sportive trick she puts on her husband, and her 
 thorough enjoyment of the jest, which she checks just as it is 
 proceeding beyond the bounds of propriety, show how little 
 she was displeased by the sacrifice of her gift, and are all con- 
 sistent with her bright and buoyant spirit." — 
 
 Mrs. Jameson, Characteristics of Women. 
 
 3. Antonio 
 
 Magnanimity, big-heartedness, self-abnegation, stand out as 
 the crowning qualities of Antonio. Absolutely forgetful of 
 himself he trusts his friends implicitly; generously and seemingly 
 with imprudence loans money to Bassanio, not as a business 
 investment but for his personal use; and when facing financial 
 ruin is deeply concerned lest his friend suffer embarrassment. 
 
 He naturally is grave and at times subject to melancholy, 
 but underneath it all is a gentleness of manner and depth of 
 tenderness that ennobles this sombre spirit. When facing 
 death, this spirit brings self-restraint and calmness. This forti- 
 tude of mind, however, is not the stolid, unfeeling stoicism that 
 Brutus shows, but is the tender resignation of one whose feelings, 
 however deep, are yet in restraint. 
 
 It is a seeming paradox to find Antonio, with the nature just 
 described, given to so caustic and insulting language toward 
 Shylock. Knight, in his Pictorial Shakespeare, says: "Was it 
 without an object that Shakespeare made this man, so entitled 
 to command our affections and our sympathy, act so unworthy 
 a part, and not be ashamed of the act? Most assuredly the poet 
 did not intend to justify the indignities which were heaped upon 
 Shylock; for in the very strongest way he has made the Jew 
 remember the insult in the progress of his wild revenge: 
 
 Thou ealled'st me a dog before thou hadst a cause: 
 But, since I am a dog, beware my fangs. 
 
 Here, to our minds, is the first of the lessons of charity which 
 this play teaches. Antonio is as much to be pitied for his preju- 
 dices as the Jew for his. They had both been nurtured in evil 
 opinions. . . . The habitual contempt with which he (Shy- 
 lock) is treated by men who in every other respect are gentle 
 
32 THE MERCHANT OF VENICE 
 
 and good-humoured and benevolent is a proof to us that Shake- 
 speare meant to represent the struggle that must inevitably 
 ensue, in a condition of society where the innate sense of justice 
 is deadened in the powerful by those hereditary prejudices 
 which make cruelty virtuous; and where the powerless, invested 
 by accident with the means of revenge, say with Shylock, 'The 
 villainy you teach me I will execute; and it shall go hard but I 
 will better the instruction.' " 
 
 4. Bassanio 
 
 In some ways Bassanio 's character stands as an inverted re- 
 flection of Antonio. The response to his benefactor's sacrifices 
 must in some measure determine our estimation of Bassanio. 
 Now in all his relations with Antonio, Bassanio is absolutely 
 open and candid. There is no hesitancy or concealment in his 
 presentation of his case to his friend; he very evidently has no 
 false motive. And it is this very ingenuousness that makes his 
 appeal telling and occasions in us less surprise at Antonio's 
 readiness to do whatever is in his power to aid Bassanio. How- 
 ever, one must call upon one's imagination to endorse this en- 
 couragement of such seeming prodigality as Bassanio shows. 
 But why should there not be a resort to imagination if so good a 
 plot result? 
 
 Besides this frankness we see in Bassanio a deep genuineness 
 of character, as shown in the way he spurns the gold and silver 
 caskets and chooses that which stands not for "ornament", 
 which "is but the guiled shore to a most dangerous sea", but for 
 "paleness", which "moves" him "more than eloquence". 
 
 5. Jessica 
 
 If Shylock may be viewed in two contrary lights, even so may 
 Jessica. Here are the two views: 
 
 (1) She was disloyal to her father and to her religion, was 
 frivolous and lacking in moral poise, and lacked womanliness. 
 Here is what Giles, in Human Life in Shakespeare, says: "In 
 his (Shakespeare's) less serious plays all the characters whom he 
 intends for lovable have not only graces and charms, but natural 
 femininely sensibilities. One exception there is, — which not 
 even Shakespeare can make me like, — and that is the pert, dis- 
 
INTRODUCTION 33 
 
 obedient Jessica. Her conduct I regard as in a high degree 
 reprehensible. . . . She selfishly forgot the duty of a daughter 
 when she should have remembered it. Why should she, a maiden 
 of Israel, leave her poor old father, Shylock, alone in the midst 
 of his Christian enemies? What if he was wrong? The more 
 need he had of her. What if most wrong? Even then, even in 
 the madness of defeated vengeance, in the misery of humbled 
 pride, when regarded as most guilty, when there was nothing 
 in the world for him but contempt without pity, the child of 
 his home — his only child — should have had in her woman's 
 heart a shelter for her scorned father. . . . Besides, she turned 
 Christian for a husband. Changes of religion for husbands, or 
 with them, may do for the children of kings; it is not to be com- 
 mended in the children of the people." 
 
 (2) Winsome, innocent of any evil intent, she is excusable 
 of all she did on the ground that she was brought up under cruel 
 restraint by a father who could say of her, in the moment when 
 she sought her rightful freedom, "I would my daughter were 
 dead at my foot, and the jewels in her ear! — would she were 
 hearsed at my foot, and the ducats in her coffin!" 
 
 Perhaps we may take an intermediate ground in estimating 
 her, as does Hudson: " Jessica's elopement, in itself, and its 
 circumstances, puts us to the alternative that either she is a 
 bad child or Shylock is a bad father. And there is enough to 
 persuade us of the latter; though not in such sort but that some 
 share of the reproach falls to her. For if a young woman have 
 so bad a home as to justify her in thus deserting and robbing 
 it, the atmosphere of the place can hardly fail to leave some 
 traces in her temper and character." 
 
 6. Gratiano 
 
 In Pilgrim's Progress, when Faithful approached Talkative 
 with the question, "Well, then, what is that one thing that we 
 shall at this time found our discourse upon?" the reply of Talk- 
 ative was, "What you will. I will talk of things heavenly, or 
 things earthly; things moral, or things evangelical; things 
 sacred, or things profane; things past or things to come; things 
 foreign, or things at home; things more essential, or things cir- 
 cumstantial: provided that all be done to our profit." But 
 
34 THE MERCHANT OF VENICE 
 
 how uninteresting is the Talkative of this story in comparison 
 to Gratiano, of whom Bassanio said he "speaks an infinite deal 
 of nothing"! To be sure, a good deal of Gratiano's talk is seem- 
 ingly mere trifling, but he is vivacious, witty, the life of the 
 party. Charles Cowden-Clarke says of him: "He is one of 
 those useful men in society who will keep up the ball of mirth 
 and good-humour, simply by his own mercurial temperament 
 and agreeable rattle; for he is like a babbling woodside brook, 
 seen through at once, and presenting every ripple of its surface 
 to the sunbeams of good-fellowship. ... He would no doubt 
 talk a man off his legs; and, therefore, Shakespeare brings him 
 as a relief against the grave men, Antonio and Bassanio, who, 
 being anxious about worldly cares, resent his vivacity, and they 
 are at all events as peevish as he is flippant and inconsiderate." 
 But there is a deeper side to the nature of Gratiano, and his 
 character cannot be read simply on the surface. He is deeply 
 concerned at Antonio's misfortune, he does his best to cheer 
 him up, and the whole aim of all his garrulousness is to raise the 
 spirits of those who are despondent. Unselfishness is written 
 into his every word and act. 
 
 7. Nerissa 
 
 Nerissa is admirably suited to be the companion of Gratiano. 
 She is playful, attractive, lively; and she, too, shows in her con- 
 versation with Portia that she is given to generalities in talking, 
 and would easily maintain her part in any conversation. She 
 does not lack will, in which she imitates Portia, as we see when 
 they berate their husbands for seeming faithlessness in the loss 
 of the rings. 
 
 STAGE COSTUMES 
 
 1. Shylock. — Edwin Booth interpreted the part in the fol- 
 lowing costume: "A long, dark-green gown, trimmed at the 
 edge of the skirt with an irregular device of brown colour. A 
 dark-brown gaberdine, with flowing sleeves and hood, lined with 
 green and trimmed as the gown. A variegated scarf about the 
 waist, from which depends a leather pouch. Head grey and 
 pretty bald; beard of same colour and quite long. Ear-rings 
 and several finger-rings, one on the thumb and one on forefinger ; 
 
INTRODUCTION 35 
 
 a long knotted staff. Complexion swarthy r age about sixty. 
 Red leather pointed shoes, and hat of orange-tawny colour, 
 shaped somewhat like the Phrygian cap, but with a rim of about 
 two inches, turned up." 
 
 Henry Irving wore "an iron-gray wisp of beard, a sober brown 
 gaberdine, an Oriental shawl girdle, and a close-fitting black 
 cap with a yellow line across it." 
 
 2. Portia. — Godwin, as quoted by Furness, speaks of the 
 Paduan ladies as wearing "high-necked bodies, with fine cambric 
 ruffs." Speaking of the hair, he says, "In some cases it was 
 crimped, parted in the middle, brought round to the back over 
 the ears, and rolled up a la grcc; in others it.fell loosely down the 
 back au naturel, confined, however, at the poll by a delicately- 
 wrought band or tiara of goldsmith's work; but the more usual 
 plan was to arrange the front hair in massive curls, assuming 
 somewhat the form of a couple of low horns, and carried down 
 each side in smaller curls to the ears, the hair behind being 
 strained and fastened up into a plait, with strings of pearls 
 interwoven. From this plait depended a veil, which sometimes 
 also appears to have covered the head up to a point between 
 the horned curls or rolls, over which it could be raised like a 
 double hood." Continuing, he says: "The gown was cut like 
 the Venetian dress, and was made of silk, brocade, gold cloth, 
 or costly velvet. Over the shoulders was worn a chain, usually 
 of gold set with jewels, and suspending a large jewel or cross. 
 . . . Rings were worn on the first, third, and fourth fingers. 
 Earrings of pearls and jewels appear. . . . Portia's stockings 
 would be of silk or the finest thread worked with clocks and 
 even open seams. Her shoes, of slipper form, would be of 
 morocco, or of velvet embroidered with gold, cork being used 
 for the soles." 
 
 As a civil doctor, she would wear, according to Godwin, "a 
 tight doublet, silk belt, trunk hose, and stockings, all of black; 
 velvet in winter, silk in summer. Over these, the official robe 
 or gown, ungirdled, having an upright collar and long, capacious 
 open sleeves reaching nearly to the ground. This was made of 
 velvet, silk, or damask, covered with rich pattern, cut, embroid- 
 ered, or Y\roven, according to the nature of the material. . . . 
 On her head she would wear a tolerably high cap, made with 
 narrow brim and a flat top, and on her feet the usual slipper 
 
36 THE MERCHANT OF VENICE 
 
 shoes. The clerk would wear a black cloth doublet, trunks, 
 stockings, and ruffs, but no robe or gown." 
 
 3. Antonio. — Godwin says that there would be no difference 
 between the costumes of Antonio and Shylock other than in the 
 color of their caps, — Shylock being obliged to wear his cap "made 
 of a tawny-yellow material". 
 
 4. Nerissa. — Godwin says she must be dressed, as a maid 
 who acts as a "confidential servant of a noble and wealthy 
 lady", with "the ruffs at neck and wrists, but of less delicate 
 material than those of Portia; the skirt of her gown will be 
 shorter than her ladyship's, and there will be an absence of orna- 
 ment, except, perhaps, as a border to the dress. She must wear 
 a ring or two, and from her girdle would hang a pouch and hus- 
 wife. She would also have a short veil of plain lawn or cambric, 
 which she might use as a hood, pinned under the chin." 
 
 5. Jessica. — Edwin Booth says: "Jessica should wear a 
 yellow sash or veil, of the same colour as Shylock 's cap." 
 
 6. Bassanio, and the other nobles. — Knight says: "Young 
 lovers wear generally a doublet and breeches of satin, cut or 
 slashed in the form of crosses or stars, through which slashing 
 is seen the lining of coloured taffeta; gold buttons, a lace ruff, 
 a bonnet of rich velvet or silk with an ornamental band, a silk 
 cloak, and silk stockings, Spanish morocco shoes, a flower in 
 one hand and their gloves and handkerchief in the other." 
 
 General Comment. — Richard Grant White says: "The Mer- 
 chant of Venice has never been put on the stage in the costume 
 of the time at which it was written. ... It is to be feared that 
 the splendour and faithfulness of the scene would be forgotten 
 in its absurdity. . . Any Italian costume . . . sufficiently an- 
 tique to remove the action out of the range of present probabil- 
 ities, will meet the dramatic requirements of the play; but the 
 orange-tawny bonnet . . . ought not to be missed from the 
 brow of Shylock." 
 
THE MERCHANT 
 OF VENICE 
 
 37 
 
DRAMATIS PERSONS 
 
 The Duke of Venice 
 
 The Prince of Morocco 1 _ 
 
 „ „ . > suitors to Portia. 
 
 The Prince of Arragon J 
 
 Antonio, a merchant of Venice. 
 
 Bassanio, friend to Antonio, suitor likewise to Portia. 
 
 Salanio 
 
 Salarino > friends to Antonio and Bassanio. 
 
 Gratiano J 
 
 Lorenzo, in love with Jessica. 
 
 Shylock, a rich Jew. 
 
 Tubal, a Jew, friend to Shylock. 
 
 Launcelot Gobbo, a Clown, servant to Shylock. 
 
 Old Gobbo, father to Launcelot. 
 
 Leonardo, servant to Bassanio. 
 
 Balthazar ) 
 
 Q > servants to Portia 
 
 feTEPHANO j 
 
 Portia, a rich heiress. 
 
 Nerissa, waiting-maid to Portia. 
 
 Jessica, daughter to Shylock. 
 
 Magnificoes of Venice, Officers of the Court of Justice, Gaoler, 
 Servants to Portia, and other Attendants. 
 
 SCENE — Partly at Venice; and partly at Belmont, the seat 
 of Portia, on the Continent. 
 
 38 
 
THE MERCHANT OF VENICE 
 
 ACT I 
 
 Scene I. Venice. A street 
 Enter Antonio, Salarino, and Salanio 
 
 Ant. In sooth, I know not why I am so sad: 
 It wearies me; you say it wearies you; 
 But how I caught it, found it, or came by it, 
 What stuff 'tis made of, whereof it is born, 
 I am to learn; 
 
 And such a want-wit sadness makes of me, 
 That I have much ado to know myself. 
 
 Salar. Your mind is tossing on the ocean; 
 There, where your argosies with portly sail, 
 Like signiors and rich burghers on the flood, 10 
 
 Or, as it were, the pageants of the sea, 
 Do overpeer the petty traffickers, 
 That curtsy to them, do them reverence, 
 As they fly by them with their woven wings. 
 
 Salan. Believe me, sir, had I such venture forth, 
 The better part of my affections would 
 Be with my hopes abroad. I should be still 
 Plucking the grass, to know where sits the wind, 
 Feering in maps for ports and piers and roads; 
 And every object that might make me fear 20 
 
 39 
 
40 THE MERCHANT OF VENICE [Act I 
 
 Misfortune to my ventures, out of doubt, 
 Would make me sad. 
 
 Salar. My wind, cooling my broth, 
 
 Would blow me to an ague, when I thought 
 What harm a wind too great might do at sea. 
 I should not see the sandy hour-glass run 
 But I should think of shallows and of flats, 
 And see my wealthy Andrew dock'd in sand, 
 Vailing her high-top lower than her ribs 
 To kiss her burial. Should I go to church 
 And see the holy edifice of stone, 30 
 
 And not bethink me straight of dangerous rocks, 
 Which, touching but my gentle vessel's side, 
 Would scatter all her spices on the stream, 
 Enrobe the roaring waters with my silks, 
 And, in a word, but even now worth this, 
 And now worth nothing? Shall I have the thought 
 To think on this, and shall I lack the thought 
 That such a thing, bechanced, would make me sad? 
 But tell not me; I know, Antonio 
 Is sad to think upon his merchandise. 40 
 
 Ant. Believe me, no; I thank my fortune for it, 
 My ventures are not in one bottom trusted, 
 Nor to one place; nor is my whole estate 
 Upon the fortune of this present year: 
 Therefore my merchandise makes me not sad. 
 
 Salar. Why, then you are in love. 
 
 Ant. Fie, fie! 
 
 Salar. Not in love neither? Then let us say you 
 are sad, 
 
Scene I] THE MERCHANT OF VENICE 41 
 
 Because you are not merry: and 'twere as easy 
 For you to laugh and leap and say you are merry, 
 Because you are not sad. Now, by two-headed 
 
 Janus, 50 
 
 Nature hath framed strange fellows in her time: 
 Some that will evermore peep through their eyes, 
 And laugh, like parrots, at a bag-piper; 
 And other 'of such vinegar aspect 
 That they'll not show their teeth in way of smile, 
 Though Nestor swear the jest be laughable. 
 
 Enter Bassanio, Lorenzo, and Gratiano 
 
 Salan. Here comes Bassanio, your most noble 
 kinsman, 
 Gratiano, and Lorenzo. Fare ye well: 
 We leave you now with better company. 
 
 Salar. I would have stay'd till I had made you 
 merry, 60 
 
 If worthier friends had not prevented me. 
 
 Ant. Your worth is very dear in my regard. 
 I take it, your own business calls on you, 
 And you embrace th' occasion to depart. 
 Salar. Good morrow, my good lords. 
 Bass. Good signiors both, when shall we laugh? 
 Say, when? 
 You grow exceeding strange: must it be so? 
 Salar. We'll make our leisures to attend on yours. 
 [Exeunt Salarino and Salanio 
 Lor. My lord Bassanio, since you have found 
 Antonio, 
 
42 THE MERCHANT OF VENICE [Act I 
 
 We two will leave you; but at dinner-time, 70 
 
 I pray you, have in mind where we must meet- 
 Bass. I will not fail you. 
 Gra. You look not well, Signior Antonio; 
 You have too much respect upon the world : 
 They lose it that do buy it with much care. 
 Believe me, you are marvellously changed. 
 
 Ant. I hold the world but as the world, Gratiano; ' 
 A stage where every man must play a part, 
 And mine a sad one. 
 
 Gra. Let me play the fool : 
 
 With mirth and laughter let old wrinkles come; 80 
 
 And let my liver rather heat with wine 
 Than my heart cool with mortifying groans. 
 Why should a man, whose blood is warm within, 
 Sit like his grandsire cut in alabaster? 
 Sleep when he wakes and creep into the jaundice 
 By being peevish? I tell thee what, Antonio — 
 I love thee, and it is my love that speaks — 
 There are a sort of men whose visages 
 Do cream and mantle like a standing pond, 
 And do a wilful stillness entertain, 
 With purpose to be dress'd in an opinion 90 
 
 Of wisdom, gravity, profound conceit, 
 As who should say, "I am Sir Oracle, 
 And when I ope my lips, let no dog bark!" 
 O my Antonio, I do know of these 
 That therefore only are reputed wise 
 For saying nothing; when, I am very sure, 
 If they should speak, would almost damn those ears 
 
Scene I] THE MERCHANT OF VENICE 43 
 
 Which, hearing them, would call their brothers fools. 
 
 I'll tell thee more of this another time: 100 
 
 But fish not, with this melancholy bait, 
 
 For this fool-gudgeon, this opinion. 
 
 Come, good Lorenzo. Fare ye well a while: 
 
 I'll end my exhortation after dinner. 
 
 Lor. Well, we will leave you, then, till dinner- 
 time: 
 I must be one of these same dumb wise men, 
 For Gratiano never lets me speak. 
 
 Gra. Well, keep me company but two years moe, 
 Thou shalt not know the sound of thine own tongue. 
 
 Ant. Farewell: I'll grow a talker for this gear, no 
 
 Gra. Thanks, i' faith, for silence is only com- 
 mendable 
 In a neat's tongue dried. 
 
 [Exeunt Gratiano and Lorenzo 
 
 Ant. Is that any thing now? 
 
 Bass. Gratiano speaks an infinite deal of noth- 
 ing, more than any man in all Venice. His reasons 
 are as two grains of wheat hid in two bushels of 
 chaff: you shall seek all day ere you find them; 
 and when you have them, they are not worth the 
 search. 
 
 Ant. Well, tell me now what lady is the same 
 To whom you swore a secret pilgrimage, 120 
 
 That you to-day promised to tell me of? 
 
 Bass. ; Tis not unknown to you, Antonio, 
 How much I have disabled mine estate, 
 By something showing a more swelling port 
 
44 THE MERCHANT OF VENICE [Act I 
 
 Than my faint means would grant continuance: 
 
 Nor do I now make moan to be abridged 
 
 From such a noble rate; but my chief care 
 
 Is to come fairly off from the great debts 
 
 Wherein my time, something too prodigal, 
 
 Hath left me gaged. To you. Antonio, 130 
 
 I owe the most, in money and in love; 
 
 And from your love I have a warranty 
 
 To unburden all my plots and purposes 
 
 How to get clear of all the debts I owe. 
 
 Ant. I pray you, good Bassanio, let me know it; 
 And if it stand, as you yourself still do, 
 Within the eye of honour, be assured 
 My purse, my person, my extremest means 
 Lie all unlock' d to your occasions. 
 
 Bass. In my school-days, when I had lost one shaft, 140 
 I shot his fellow of the self-same flight 
 The self-same way, with more advised watch, 
 To find the other forth; and by adventuring both 
 I oft found both: I urge this childhood proof, 
 Because what follows is pure innocence. 
 I owe you much; and, like a wilful youth, 
 That which I owe is lost: but if you please 
 To shoot another arrow that self way 
 Which you did shoot the first, I do not doubt, 
 As I will watch the aim, or to find both 15C 
 
 Or bring your latter hazard back again, 
 And thankfully rest debtor for the first. 
 
 Ant. You know me well; and herein spend but 
 
 time 
 
Scene I] THE MERCHANT OF VENICE 45 
 
 To wind about my love with circumstance; 
 
 And, out of doubt, you do me now more wrong 
 
 In making question of my uttermost 
 
 Than if you had made waste of all I have. 
 
 Then do but say to me what I should do, 
 
 That in your knowledge may by me be done, 
 
 And I am prest unto it: therefore speak. 160 
 
 Bass. In Belmont is a lady richly left; 
 And she is fair, and, fairer than that word, 
 Of wondrous virtues: sometimes from her eyes 
 I did receive fair speechless messages. 
 Her name is Portia, nothing undervalued 
 To Cato's daughter, Brutus' Portia. 
 Nor is the wide world ignorant of her worth, 
 For the four winds blow in from every coast 
 Renowned suitors ; and her sunny locks 
 Hang on her temples like a golden fleece; 170 
 
 Which makes her seat of Belmont Colchos' strand, 
 And many Jasons come in quest of her. 
 
 my Antonio, had I but the means 
 To hold a rival place with one of them, 
 
 1 have a mind presages me such thrift, 
 That I should questionless be fortunate! 
 
 Ant. Thou know'st that all my fortunes are at sea; 
 Neither have I money nor commodity 
 To raise a present sum: therefore go forth; 
 Try what my credit can in Venice do : 180 
 
 That shall be rack'd, even to the uttermost, 
 To furnish thee to Belmont, to fair Portia. 
 Go, presently inquire, and so will I, 
 
46 THE MERCHANT OF VENICE [Act I 
 
 Where money is; and I no question make 
 
 To have it of my trust or for my sake. [Exeunt 
 
 Scene II. Belmont. A room in Portia's house 
 Enter Portia and Nerissa 
 
 Por. By my troth, Nerissa, my little body is 
 aweary of this great world. 
 
 Ner. You would be, sweet madam, if your 
 miseries were in the same abundance as your good 
 fortunes are: and yet, for aught I see, they are as 
 sick that surfeit with too much, as they that starve 
 with nothing. It is no small happiness, therefore, 
 to be seated in the mean ; superfluity comes sooner 
 by white hairs, but competency lives longer. 
 
 Por. Good sentences and well pronounced. 10 
 
 Ner. They would be better, if well followed. 
 
 Por. If to do were as easy as to know what were 
 good to do, chapels had been churches, and poor 
 men's cottages princes' palaces. It is a good divine 
 that follows his own instructions : I can easier teach 
 twenty what were good to be done than be one of 
 the twenty to follow mine own teaching. The 
 brain may devise laws for the blood; but a hot 
 temper leaps o'er a cold decree : such a hare is mad- 
 ness the youth, to skip o'er the meshes of good 20 
 counsel the cripple. But this reasoning is not in the 
 fashion to choose me a husband. me, the word 
 "choose" ! I may neither choose whom I would nor 
 refuse whom I dislike ; so is the will of a living daugh- 
 
Scene II] THE MERCHANT OF VENICE 47 
 
 ter curbed by the will of a dead father. Is it not hard, 
 Nerissa, that I cannot choose one nor refuse none? 
 
 Ner. Your father was ever virtuous; and holy 
 men at their death have good inspirations; there- 
 fore the lottery that he hath devised in these three 
 chests of gold, silver, and lead (whereof who chooses 30 
 his meaning chooses you) will, no doubt, never be 
 chosen by any rightly, but one who shall rightly love. 
 But what warmth is there in your affection towards 
 any of these princely suitors that are already come? 
 
 Por. I pray thee, over-name them; and as thou 
 namest them, I will describe them; and, according 
 to my description, level at my affection. 
 
 Ner. First, there is the Neapolitan prince. 
 
 Por. Ay, that's a colt, indeed, for he doth 
 nothing but talk of his horse; and he makes it a 40 
 great appropriation to his own good parts, that he 
 can shoe him himself. 
 
 Ner. Then is there the County Palatine. 
 
 Por. He doth nothing but frown; as who 
 should say, "An' you will not have me, choose"; he 
 hears merry tales, and smiles not: I fear he will 
 prove the weeping philosopher when he grows old, 
 being so full of unmannerly sadness in his youth. 
 I had rather be married to a death's-head with a 
 bone in his mouth than to either of these. God 50 
 defend me from these two! 
 
 Ner. How say you by the French lord, Mon- 
 sieur Le Bon? 
 
 Por. God made him, and therefore let him pass 
 
48 THE MERCHANT OF VENICE [Act I 
 
 for a man. In truth, I know it is a sin to be a 
 mocker; but he! why, he hath a horse better than 
 the Neapolitan's; a better bad habit of frowning 
 than the Count Palatine: he is every man in no 
 man: if a throstle sing, he falls straight a-capering; 
 he will fence with his own shadow: if I should 60 
 marry him, I should marry twenty husbands. If 
 he, would despise me, I would forgive him; for, if ' 
 he love me to madness, I shall never requite him. 
 
 Ner. What say you, then, to Falconbridge, the 
 young baron of England? 
 
 Por. You know I say nothing to him; for he 
 understands not me, nor I him: he hath neither 
 Latin, French, nor Italian, and you will come into 
 the court and swear that I have a poor pennyworth 
 in the English. He is a proper man's picture; but 70 
 alas, who can converse with a dumb-show? How 
 oddly he is suited! I think he bought his doublet 
 in Italy, his round hose in France, his bonnet in 
 Germany, and his behaviour everywhere. 
 
 Ner. What think you of the Scottish lord, his 
 neighbour? 
 
 Por. That he hath a neighbourly charity in him; 
 for he borrowed a box of the ear of the Englishman, 
 and swore he would pay him again when he was 
 able: I think the Frenchman became his surety, so 
 and sealed under for another. 
 
 Ner. How like you the young German, the 
 Duke of Saxony's nephew? 
 
 Por. Very vilely in the morning, when he is 
 
Scene II] THE MERCHANT OF VENICE 49 
 
 sober; and most vilely in the afternoon, when he 
 is drunk : when he is best, he is a little worse than 
 a man, and when he is worst, he is little better, than 
 a beast: an' the worst fall that ever fell, I hope I 
 shall make shift to go without him. 
 
 Ner. If he should offer to choose, and choose 90 
 the right casket, you should refuse to perform your 
 father's will, if you should refuse to accept him. 
 
 Por. Therefore, for fear of the worst, I pray 
 thee set a deep glass of Rhenish wine on the con- 
 trary casket : for, if the devil be within and that 
 temptation without, I know he will choose it. I 
 will do any thing, Nerissa, ere I will be married to 
 a sponge. 
 
 Ner. You need not fear, lady, the having any 
 of these lords : they have acquainted me with their 100 
 determinations, which is, indeed, to return to their 
 home and to trouble you with no more suit, unless 
 you may be won by some other sort than your 
 father's imposition, depending on the caskets. 
 
 Por. If I live to be as old as Sibylla, I will die 
 as chaste as Diana, unless I be obtained by the 
 manner of my father's will. I am glad this parcel 
 of wooers are so reasonable; for there is not one 
 among them but I dote on his very absence, and I 
 wish them a fair departure. no 
 
 Ner. Do you not remember, lady, in your 
 father's time, a Venetian, a scholar, and a soldier, 
 that came hither in company of the Marquis of 
 Montferrat? 
 
50 THE MERCHANT OF VENICE [Act I 
 
 Por. Yes, yes, it was Bassanio; as I think, so 
 was he called. 
 
 Ner. True, madam : he, of all the men that ever 
 my foolish eyes looked upon, was the best deserving 
 a fair lady. 
 
 Por, I remember him well; and I remember 120 
 him worthy of thy praise. 
 
 Enter a Serving-man 
 
 How now! what news? 
 
 Serv. The four strangers seek you, madam, to 
 take their leave: and there is a forerunner come 
 from a fifth, the Prince of Morocco, who brings 
 word the prince his master will be here to-night. 
 
 Por. If I could bid the fifth welcome with so 
 good heart as I can bid the other four farewell, I 
 should be glad of his approach: if he have the con- 
 dition of a saint and the complexion of a devil, I 130 
 had rather he should shrive me than wive me. 
 Come, Nerissa. Sirrah, go before. 
 Whiles we shut the gate upon one wooer, another 
 knocks at the door. [Exeunt 
 
 Scene III. Venice. A public place 
 Enter Bassanio and Shylock 
 Shy. Three thousand ducats; well. 
 Bass. Ay, sir, for three months. 
 Shy. For three months; well. 
 Bass. For the which, as I told you, Antonio 
 shall be bound. 
 
Scene III] THE MERCHANT OF VENICE 51 
 
 Shy. Antonio shall become bound; well. 
 
 Bass. May you stead me? Will you pleasure 
 me? Shall I know your answer? 
 
 Shy. Three thousand ducats, for three months, 
 and Antonio bound. 10 
 
 Bass. Your answer to that. 
 
 Shy. Antonio is a good man. 
 
 Bass. Have you heard any imputation to the 
 contrary? 
 
 Shy. Ho, no, no, no, no: my meaning, in say- 
 ing he is a good man is to have you understand me 
 that he is sufficient. Yet his means are in supposi- 
 tion: he hath an argosy bound to Tripolis, another 
 to the Indies; I understand, moreover, upon the 
 Rialto, he hath a third at Mexico, a fourth for 20 
 England; and other ventures he hath, squandered 
 abroad. But ships are but boards, sailors but men : 
 there be land-rats and water-rats, water-thieves 
 and land thieves — I mean, pirates; and then there 
 is the peril of waters, winds, and rocks. The man 
 is, notwithstanding, sufficient. Three thousand 
 ducats; I think I may take his bond. 
 
 Bass. Be assured you may. 
 
 Shy. I will be assured I may; and, that I may 
 be assured, I will bethink me. May I speak with 30 
 Antonio? 
 
 Bass. If it please you to dine with us. 
 
 Shy. Yes, to smell pork; to eat of the habitation 
 which your prophet, the Nazarite, conjured the devil 
 into! I will buy with you, sell with you, talk with 
 
52 THE MERCHANT OF VENICE [Act I 
 
 you, walk with you, and so following; but I will not 
 eat with you, drink with you, nor pray with you. 
 What news on the Rialto? Who is he comes here? 
 
 Enter Antonio 
 
 Bass. This is Signior Antonio. 
 
 Shy. [Aside] How like a fawning publican he 40 
 looks! 
 I hate him for he is a Christian; 
 But more for that in low simplicity 
 He lends out money gratis and brings down 
 The rate of usance here with us in Venice. 
 If I can catch him once upon the hip, 
 I will feed fat the ancient grudge I bear him. 
 He hates our sacred nation; and he rails, 
 Even there where merchants most do congregate, 
 On me, my bargains, and my well- won thrift, 
 Which he calls interest. Cursed be my tribe 50 
 
 If I forgive him! 
 
 Bass. Shylock, do you hear? 
 
 Shy. I am debating of my present store; 
 And, by the near guess of my memory, 
 I cannot instantly raise up the gross 
 Of full three thousand ducats. What of that? 
 Tubal, a wealthy Hebrew of my tribe, 
 Will furnish me. But soft! how many months 
 Do you desire? [To Ant.] Rest you fair, good 
 
 signior : 
 Your worship was the last man in our mouths. 
 
 Ant. Shylock, albeit I neither lend nor borrow 60 
 
Scene III] THE MERCHANT OF VENICE 53 
 
 By taking nor by giving of excess, 
 Yet, to supply the ripe wants of my friend, 
 I'll break a custom. Is he yet possess'd 
 How much you would? 
 
 Shy. Ay, ay, three thousand ducats. 
 
 Ant. And for three months. 
 
 Shy. I had forgot, three months; you told me so. 
 Well then, your bond; and, let me see; but hear you; 
 Methought you said you neither lend nor borrow 
 Upon advantage. 
 
 Ant. I do never use it. 
 
 Shy. When Jacob grazed his uncle Laban's 
 sheep — 70 
 
 This Jacob from our holy Abram was, 
 As his wise mother wrought in his behalf, 
 The third possessor; ay, he was the third — 
 
 Ant. And what of him? did he take interest? 
 
 Shy. No, not take interest, not, as you would 
 say, 
 Directly interest: mark what Jacob did. 
 When Laban and himself were compromised, 
 That all the eanlings which were streak'd and pied 
 Should fall as Jacob's hire, 
 
 The skilful shepherd pilled me certain wands 80 
 
 And stuck them up before the fulsome ewes, 
 Who, then conceiving, did in eaning time 
 Fall parti-coloured lambs, and those were Jacob's. 
 This was a way to thrive, and he was blest; 
 And thrift is blessing, if men steal it not. 
 
 A nt. This was a venture, sir, that Jacob served for ; 
 
54 THE MERCHANT OF VENICE [Act I 
 
 A thing not in his power to bring to pass, 
 
 But sway'd and fashion'd by the hand of heaven. 
 
 Was this inserted to make interest good? 
 
 Or is your gold and silver ewes and rams? 90 
 
 Shy. I cannot tell; I make it breed as fast. 
 But note me, signior. 
 
 Ant. Mark you this, Bassanio, 
 
 The devil can cite Scripture for his purpose. 
 An evil soul, producing holy witness, 
 Is like a villain with a smiling cheek; 
 A goodly apple rotten at the heart : 
 0, what a goodly outside falsehood hath! 
 
 Shy. Three thousand ducats, 'tis a good round 
 sum. 
 Three months from twelve, then, let me see; the 
 rate — 
 
 Ant. Well, Shylock, shall we be beholding to 
 you? ioo 
 
 Shy. Signior Antonio, many a time and oft 
 In the Rialto you have rated me 
 About my moneys and my usances: 
 Still have I borne it with a patient shrug; 
 For sufferance is the badge of all our tribe. 
 You call me misbeliever, cut-throat-dog, 
 And spit upon my Jewish gaberdine, 
 And all for use of that which is mine own. 
 Well then, it now appears you need my help: 
 Go to, then; you come to me, and you say, no 
 
 "Shylock, we would have money": you say so; 
 You, that did void your rheum upon my beard 
 
Scene III] THE MERCHANT OF VENICE 55 
 
 And foot me as you spurn a stranger cur 
 
 Over your threshold : moneys is your suit. 
 
 What should I say to you? Should I not say, 
 
 "Hath a dog money? Is it possible 
 
 A cur can lend three thousand ducats?" Or 
 
 Shall I bend low, and in a bondman's key, 
 
 With bated breath and whispering humbleness, 
 
 Say this: 120 
 
 "Fair sir, you spit on me on Wednesday last; 
 
 You spurn' d me such a day; another time 
 
 You call'd me dog; and for these courtesies 
 
 I'll lend you thus much moneys?" 
 
 Ant. I am as like to call thee so again, 
 To spit on thee again, to spurn thee too. 
 If thou wilt lend this money, lend it not 
 As to thy friends ; for when did friendship take 
 A breed of barren metal of his friend? 
 But lend it rather to thine enemy, 130 
 
 Who, if he break, thou mayst with better face 
 Exact the penalty. 
 
 Shy. Why, look you, how you storm! 
 
 I would be friends with you, and have your love; 
 Forget the shames that you have stain'd me with; 
 Supply your present wants and take no doit 
 Of usance for my moneys, and you'll not hear me : 
 This is kind I offer. 
 
 Bass. This were kindness. 
 
 Shy. This kindness will I show: 
 
 Go with me to a notary; seal me there 
 ^Your single bond; and, in a merry sport, 140 
 
56 THE MERCHANT OF VENICE [Act I 
 
 If you repay me not on such a day, 
 
 In such a place, such sum or sums as are 
 
 Express'd in the condition, let the forfeit 
 
 Be nominated for an equal pound 
 
 Of your fair flesh, to be cut off and taken 
 
 In what part of your body pleaseth me. 
 
 Ant. Content, 'i faith; I'll seal to such a bond, 
 And say there is much kindness in the Jew. 
 
 Bass. You shall not seal to such a bond for me; 
 I'll rather dwell in my necessity. 150 
 
 Ant. Why, fear not, man; I will not forfeit it; 
 Within these two months, that's a month before 
 This bond expires, I do expect return 
 Of thrice three times the value of this bond. 
 
 Shy. Father Abram, what these Christians are, 
 Whose own hard dealings teaches them suspect 
 The thoughts of others! — Pray you, tell me this: 
 If he should break his day, what should I gain 
 By the exaction of the forfeiture? 
 A pound of man's flesh taken from a man 160 
 
 Is not so estimable, profitable neither, 
 As flesh of muttons, beefs, or goats. I say, 
 To buy his favour, I extend this friendship; 
 If he will take it, so; if not, adieu; 
 And, for my love, I pray you wrong me not. 
 
 Ant Yes, Shylock, I will seal unto this bond. 
 
 Shy. Then meet me forthwith at the notary's: 
 Give him direction for this merry bond, 
 And I will go and purse the ducats straight, 
 See to my house, left in the fearful guard 170 
 
Scene III] THE MERCHANT OF VENICE 57 
 
 Of an unthrifty knave, and presently 
 I will be with you. 
 
 Ant. Hie thee, gentle Jew. [Exit Shylock 
 
 The Hebrew will turn Christian; he grows kind. 
 
 Bass. I like not fair terms and a villain's mind. 
 
 Ant. Come on; in this there can be no dismay; 
 My ships come home a month before the day. 
 
 [Exeunt 
 
 ACT II 
 
 Scene I. Belmont. A room in Portia's house 
 
 Flourish of cornets. Enter the Prince of Morocco, 
 
 and his train; Portia, Nerissa, and others 
 
 attending 
 
 Mor. Mislike me not for my complexion, 
 The shadow' d livery of the burnish' d sun, 
 To whom I am a neighbour and near bred. 
 Bring me the fairest creature northward born, 
 Where Phcebus' fire scarce thaws the icicles, 
 And let us make incision for your love, 
 To prove whose blood is reddest, his or mine. 
 I tell thee, lady, this aspect of mine 
 Hath fear'd the valiant; by my love, I swear 
 The best-regarded virgins of our clime 10 
 
 Have loved it too : I would not change this hue, 
 Except to steal your thoughts, my gentle queen. 
 
 Por. In terms of choice I am not solely led 
 By nice direction of a maiden's eyes; 
 
58 THE MERCHANT OF VENICE [Act II 
 
 Besides, the lottery of my destiny 
 
 Bars me the right of voluntary choosing: 
 
 But if my father had not scanted me, 
 
 And hedged me by his wit to yield myself 
 
 His wife who wins me by that means I told you, 
 
 Yourself, renowned prince, then stood as fair 20 
 
 As any comer I have look'd on yet, 
 
 For my affection. 
 
 Mor. Even for that I thank you ; 
 
 Therefore, I pray you, lead me to the caskets' 
 To try my fortune. By this scimitar 
 That slew the Sophy and a Persian prince 
 That won three fields of Sultan Solyman, 
 I would outstare the sternest eyes that look, 
 Outbrave the heart most daring on the earth, 
 Pluck the young sucking cubs from the she-bear, 
 Yea, mock the lion when he roars for prey, 30 
 
 To win the lady. But, alas the while! 
 If Hercules and Lichas play at dice 
 Which is the better man, the greater throw 
 May turn by fortune from the weaker hand : 
 So is Alcides beaten by his page ; 
 And so may I, blind fortune leading me, 
 Miss that which one unworthier may attain, 
 And die with grieving. 
 
 Por. You must take your chance; 
 
 And either not attempt to choose at all, 
 Or, swear before you choose, if you choose wrong 40 
 Never to speak to lady afterward 
 In way of marriage; therefore be advised. 
 
Scene I] THE MERCHANT OF VENICE 59 
 
 Mor. Nor will not. Come, bring me unto my chance. 
 
 For. First, forward to the temple; after dinner 
 Your hazard shall be made. 
 
 Mor. Good fortune then! 
 
 To make me blest or cursed'st among men. 
 
 [Cornets and exeunt 
 
 Scene II. Venice. A street 
 Enter Launcelot 
 Laun. Certainly my conscience will serve me to 
 run from this Jew my master. The fiend is at 
 mine elbow, and tempts me, saying to me, "Gobbo, 
 Launcelot Gobbo, good Launcelot," or "good 
 Gobbo," or "good Launcelot Gobbo, use your legs, 
 take the start, run away." My conscience says, 
 "No; take heed, honest Launcelot; take heed, 
 honest Gobbo," or, as aforesaid, "honest Launcelot 
 Gobbo; do not run; scorn running with thy heels." 
 Well, the most courageous fiend bids me pack: 10 
 "Via!" says the fiend; "away!" says the fiend; 
 "for the heavens, rouse up a brave mind," says the 
 fiend, "and run." Well, my conscience, hanging 
 about the neck of my heart, says very wisely to 
 me, "My honest friend Launcelot, being an honest 
 man's son" — or rather an honest woman's son; 
 for, indeed, my father did something smack, 
 something grow to, he had a kind of taste — well, 
 my conscience says, "Launcelot, budge not." 
 "Budge," says the fiend. "Budge not," says my 20 
 
60 THE MERCHANT OF VENICE [Act II 
 
 conscience. "Conscience," say I, "you counsel 
 well"; "fiend," say I, "you counsel well": to be 
 ruled by my conscience I should stay with the Jew 
 my master, who, God bless the mark, is a kind of 
 devil ; and, to run away from the Jew I should be 
 ruled by the fiend, who, saving your reverence, is 
 the devil himself. Certainly the Jew is the very 
 devil incarnal; and in my conscience, my con- 
 science is but a kind of hard conscience, to offer 
 to counsel me to stay with the Jew. The fiend 30 
 gives the more friendly counsel: I will run, fiend; 
 my heels are at your commandment; I will run. 
 
 Enter Old Gobbo, with a basket 
 
 Gob. Master young man, you, I pray you, which 
 is the way to master Jew's? 
 
 Laun. [Aside] heavens, this is my true- 
 begotten father! who, being more than sand-blind, 
 high-gravel-blind, knows me not: I will try con- 
 fusions with him. 
 
 Gob. Master young gentleman, I pray you, 
 which is the way to master Jew's? 40 
 
 Laun. Turn up on your right hand at the next 
 turning, but, at the next turning of all, on your 
 left; marry, at the very next turning, turn of no 
 hand, but turn down indirectly to the Jew's house. 
 
 Gob. By God's sonties, 'twill be a hard way to 
 hit. Can you tell me whether one Launcelot, that 
 dwells with him, dwell with him or no? 
 
 Laun. Talk you of young Master Launcelot? 
 
Launcelot and Gobbo 
 
Scene II] THE MERCHANT OF VENICE 61 
 
 [yls^e] Mark me now; now will I raise the 
 waters. Talk you of young Master Launcelot? 50 
 
 Gob. No master, sir, but a poor man's son: 
 his father, though I say it, is an honest exceeding 
 poor man, and, God be thanked, well to live. 
 
 Laun. Well, let his father be what a' will, we 
 talk of young Master Launcelot. 
 
 Gob. Your worship's friend and Launcelot, sir. 
 
 Laun. But I pray you, ergo, old man, ergo, I 
 beseech you, talk you of young Master Launcelot? 
 
 Gob. Of Launcelot, an 't please your mastership. 
 
 Laun. Ergo, Master Launcelot; talk not of 60 
 Master Launcelot, father; for the young gentle- 
 man, according to Fates and Destinies, and such 
 odd sayings, the Sisters Three, and such branches 
 of learning, is indeed, deceased; or, as you would 
 say in plain terms, gone to heaven. 
 
 Gob. Marry, God forbid! the boy was the very 
 staff of my age, my very prop. 
 
 Laun. [Aside] Do I look like a cudgel or a 
 hovel-post, a staff or a prop? [To him] Do you 
 know me, father? 70 
 
 Gob. Alack the day, I know you not, young 
 gentleman: but, I pray you, tell me, is my boy — 
 God rest his soul ! — alive or dead? 
 
 Laun. Do you not know me, father? 
 
 Gob. Alack, sir, lam sand-blind, I know you not. 
 
 Laun. Nay, indeed, if you had your eyes, you 
 might fail of the knowing me: it is a wise father 
 that knows his own child. Well, old man, I will 
 
62 THE MERCHANT OF VENICE [Act II 
 
 tell you news of your son: give me your blessing: 
 truth will come to light; murder cannot be hid long; 80 
 a man's son may; but, in the end, truth will out. 
 
 Gob. Pray you, sir, stand up; I am sure you 
 are not Launcelot, my boy. 
 
 Laun. Pray you, let's have no more fooling 
 about it, but give me your blessing; I am Launce- 
 lot, your boy that was, your son that is, your child 
 that shall be. 
 
 Gob. I cannot think you are my son. 
 
 Laun. I know not what I shall think of that: 
 but I am Launcelot, the Jew's man; and I am sure 90 
 Margery your wife is my mother. 
 
 Gob. Her name is Margery, indeed : I'll be sworn 
 if thou be Launcelot, thou art mine own flesh and 
 blood. Lord worshipped might he be! .what a 
 beard hast thou got ! thou hast got more hair on 
 thy chin than Dobbin my fill-horse has on his tail. 
 
 Laun. It should seem, then, that Dobbin's tail 
 grows backward; I am sure he had more hair of 
 his tail than I have of my face, when I last saw him. 
 
 Gob. Lord, how art thou changed! How dost 100 
 thou and thy master agree? I have brought him a 
 present. How 'gree you now? 
 
 Laun. Well, well; but for mine own part, as I 
 have set up my rest to run away, so I will not rest 
 till I have run some ground. My master's a very 
 Jew : give him a present ! give him a halter : I am 
 famished in his service; you may tell every finger 
 I have with my ribs. Father, I am glad you are 
 
Scene II] THE MERCHANT OF VENICE 63 
 
 come: give me your present to one Master Bas- 
 sanio, who, indeed, gives rare new liveries; if I serve no 
 not him, I will run as far as God has any ground. — 
 rare fortune! here comes the man; — to him, 
 father; for I am a Jew if I serve the Jew any longer. 
 
 Enter Bassanio, with Leonardo and other 
 followers 
 
 Bass. You may do so; but let it be so hasted 
 that supper be ready at the farthest by five of the 
 clock. See these letters delivered; put the liveries 
 to making; and desire Gratiano to come anon to 
 my lodging. [Exit sl Servant 
 
 Laun. To him, father. 
 
 Gob. God bless your worship! 120 
 
 Bass. Gramercy! Wouldst thou aught with me? 
 
 Gob. Here's my son, sir, a poor boy,— 
 
 Laun. Not a poor boy, sir, but the rich Jew's 
 man; that would, sir, as my father shall specify, — 
 
 Gob. He hath a great infection, sir, as one 
 would say, to serve — 
 
 Laun. Indeed, the short and the long is, I 
 serve the Jew, and have a desire, as my father 
 shall specify— 
 
 Gob. His master and he (saving your worship's 130 
 reverence) are scarce cater-cousins — 
 
 Laun. To be brief, the very truth is, that the 
 Jew, having done me wrong, doth cause me, as my 
 father, being I hope an old man, shall frutify unto 
 you- 
 
64 THE MERCHANT OF VENICE [Act II 
 
 Gob. I have here a dish of doves that I would 
 bestow upon your worship; and my suit is — 
 
 Laun. In very brief, the suit is impertinent to 
 myself, as your worship shall know by this honest 
 old man; and, though I say it, though old man 140 
 yet, poor man, my father. 
 
 Bass. One speak for both. What would you? 
 
 Laun. Serve you, sir. 
 
 Gob. That is the very defect of the matter, sir. 
 
 Bass. I know thee well ; thou hast obtain'd thy suit : 
 Shylock thy master spoke with me this day, 
 And hath preferr'd thee; if it be preferment 
 To leave a rich Jew's service, to become 
 The follower of so poor a gentleman. 
 
 Laun. The old proverb is very well parted be- 150 
 tween my master Shylock and you, sir: you have 
 the grace of God, sir, and he hath enough. 
 
 Bass. Thou speak'st it well. Go, father, with 
 thy son. 
 Take leave of thy old master, and inquire 
 My lodging out. [to his followers] Give him a livery 
 More guarded than his fellows' : see it done. 
 
 Laun. Father, in, — I cannot get a service, no; 
 I have ne'er a tongue in my head! — Well, if any 
 man in Italy have a fairer table which doth offer to 160 
 swear upon a book, I shall have good fortune! Go 
 to; here's a simple line of life: here's a small trifle 
 of wives: alas, fifteen wives is nothing! eleven 
 widows and nine maids is a simple coming-in for 
 one man; and then to 'scape drowning thrice, and 
 
Scene II] THE MERCHANT OF VENICE 65 
 
 to be in peril of my life with the edge of a feather- 
 bed; here are simple 'scapes. Well, if fortune be 
 a woman, she's a good wench for this gear. — Father, 
 come; I'll take my leave of the Jew in the twinkling 
 of an eye. [Exeunt Launcelot and old Gobbo 170 
 
 Bass. I pray thee, good Leonardo, think on this : 
 These things being bought and orderly bestow'd, 
 Return in haste, for I do feast to-night 
 My best-esteem'd acquaintance: hie thee, go. 
 
 Leon. My best endeavours shall be done herein. 
 
 Enter Gratiano 
 
 Gra. Where is your master? 
 
 Leon. Yonder, sir, he walks. [Exit 
 
 Gra. Signior Bassanio ! 
 
 Bass. Gratiano ! 
 
 Gra. I have a suit to you. 
 
 Bass. You have obtain'd it. 
 
 Gra. You must not deny me: I must go with 
 you to Belmont. iso 
 
 Bass. Why, then you must. But hear thee, 
 Gratiano : 
 Thou art too wild, too rude and bold of voice; 
 Parts that become thee happily enough 
 And in such eyes as ours appear not faults; 
 But where thou art not known, why, there they show 
 Something too liberal. Pray thee, take pain 
 To allay with some cold drops of modesty 
 Thy skipping spirit, lest, through thy wild be- 
 haviour, 
 
66 THE MERCHANT OF VENICE [Act II 
 
 I be misconstrued in the place I go to, 
 And lose my hopes. 
 
 Gra. Signior Bassanio, hear me: 190 
 
 If I do not put on a sober habit, 
 Talk with respect, and swear but now and then, 
 Wear prayer-books in my pocket, look demurely, 
 Nay more, while grace is saying, hood mine eyes 
 Thus with my hat, and sigh and say "amen", 
 Use all the observance of civility, 
 Like one well studied in a sad ostent 
 To please his grandam, never trust me more. 
 
 Bass. Well, we shall see your bearing. 
 
 Gra. Nay, but I bar to-night; you shall not 
 gauge me 20u 
 
 By what we do to-night. 
 
 Bass. No, that were pity; 
 
 I would entreat you rather to put on 
 Your boldest suit of mirth, for we have friends 
 That purpose merriment. But fare you well; 
 I have some business. 
 
 Gra. And I must to Lorenzo and the rest; 
 But we will visit you at supper-time. [Exeunt 
 
 Scene III. Venice. A room in Shylock's house 
 Enter Jessica and Launcelot 
 Jes. I am sorry thou wilt leave my father so: 
 Our house is hell, and thou, a merry devil, 
 Didst rob it of some taste of tediousness. 
 But fare thee well; there is a ducat for thee. 
 
Scene ill] THE MERCHANT OF VENICE 67 
 
 And, Launcelot, soon at supper shalt thou see 
 Lorenzo, who is thy new master's guest: 
 Give him this letter; do it secretly; 
 And so farewell; I would not have my father 
 See me in talk with thee. 
 
 Laun. Adieu! tears exhibit my tongue. Most 10 
 beautiful pagan, most sweet Jew! But adieu: 
 these foolish drops do somewhat drown my manly 
 spirit: adieu! 
 
 Jes. Farewell, good Launcelot, [Exit Launcelot 
 Alack, what heinous sin is it in me 
 To be ashamed to be my father's child! 
 But though I am a daughter to his blood, 
 I am not to his manners: O Lorenzo, 
 If thou keep promise, I shall end this strife, 
 Become a Christian and thy loving wife. [Exit 20 
 
 Scene IV. Venice. A street 
 Enter Gratiano, Lorenzo, Salarino, and Salanio 
 
 Lor. Nay, we will slink away in supper-time, 
 Disguise us at my lodging, and return 
 All in an hour. 
 
 Gra. We have not made good preparation. 
 
 Salar. We have not spoke us yet of torch- 
 bearers. 
 
 Solan. 'Tis vile unless it may be quaintly order' d: 
 And better, in my mind, not undertook. 
 
 Lor. 'Tis now but four o'clock 5 we have two hours 
 To furnish us, 
 
68 THE MERCHANT OF VENICE [Act II 
 
 Enter Launcelot with a letter 
 
 Friend Launcelot, what's the news? 
 
 Laun. An it shall please you to break up this, 10 
 it shall seem to signify. 
 
 Lor. I know the hand: in faith, 'tis a fair 
 hand; 
 And whiter than the paper it writ'on 
 Is the fair hand that writ. 
 
 Gra. Love-news, in faith. 
 
 Laun. By your leave, sir. 
 
 Lor. Whither goest thou? 
 
 Laun. Marry, sir, to bid my old master the Jew 
 to sup to-night with my new master the Christian. 
 
 Lor. Hold here, take this : tell gentle Jessica 
 I will not fail her; speak it privately; 20 
 
 Go. — Gentlemen, [Exit Launcelot 
 
 Will you prepare you for this masque to-night? 
 I am provided of a torch-bearer. 
 
 Salar. Ay, marry, I'll be gone about it straight. 
 
 Salan. And so will I. 
 
 Lor. Meet me and Gratiano 
 
 At Gratiano's lodging some hour hence. 
 
 Salar. 'Tis good we do so. 
 
 [Exeunt Salarino and Salanio 
 
 Gra. Was not that letter from fair Jessica? 
 
 Lor. I must needs tell thee all. She hath directed 
 How I shall take her from her father's house; 30 
 
 What gold and jewels she is furnish'd with; 
 What page's suit she hath in readiness. 
 If e'er the Jew her father come to heaven, 
 
Scene IV] THE MERCHANT OF VENICE 69 
 
 It will be for his gentle daughter's sake; 
 
 And never dare misfortune cross her foot, 
 
 Unless she do it under this excuse, 
 
 That she is issue to a faithless Jew. 
 
 Come, go with me; peruse this as thou goest: 
 
 Fair Jessica shall be my torch-bearer. [Exeunt 
 
 Scene V. The same. Before Shylock's house 
 Enter Shylock and Launcelot 
 Shy. Well, thou shalt see, thy eyes shall be thy 
 judge, 
 The difference of old Shylock and Bassanio: — 
 What, Jessica! — thou shalt not gormandize, 
 As thou hast done with me; — What, Jessica! — 
 And sleep and snore and rend apparel out; — 
 Why, Jessica, I say! 
 
 Laun. Why, Jessica! 
 
 Shy. Who bids thee call? I do not bid thee call. 
 Laun. Your worship was wont to tell me I could 
 do nothing without bidding. 
 
 Enter Jessica 
 
 Jes. Call you? What is your will? 10 
 
 Shy. I am bid forth to supper, Jessica; 
 There are my keys. But wherefore should I go? 
 I am not bid for love; they flatter me: 
 But yet I'll go in hate, to feed upon 
 The prodigal Christian. Jessica, my girl, 
 Look to my house. I am right loath to go; 
 
70 T HE MERCHANT OF VENICE [Act II 
 
 There is some ill a-brewing towards my rest, 
 For I did dream of money-bags to-night. 
 
 Laun. I beseech you, sir, go; my young master 
 doth expect your reproach. 20 
 
 Shy. So do I his. 
 
 Latin. And they have conspired together, — I 
 will not say you shall see a masque; but if you do, 
 then it was not for nothing that my nose fell a- 
 bleeding on Black-Monday last, at six o'clock i' 
 the morning, falling out that year on Ash-Wednes- 
 day was four year, in the afternoon. 
 
 Shy. What! are there masques? Hear you me, 
 Jessica : 
 Lock up my doors; and, when you hear the drum 
 And the vile squealing of the wry-neck'd fife, 30 
 
 Clamber not you up to the casements then, 
 Nor thrust your head into the public street 
 To gaze on Christian fools with varnish'd faces; 
 But stop my house's ears, I mean my casements; 
 Let not the sound of shallow foppery enter 
 My sober house. By Jacob's staff, I swear 
 I have no mind of feasting forth to-night: 
 But I will go. Go you before me, sirrah; 
 Say I will come. 
 
 Laun. I will go before, sir. 
 
 Mistress, look out at window, for all this; 40 
 
 There will come a Christian by, 
 Will be worth a Jewess' eye. [Exit 
 
 Shy. What says that fool of Hagar's offspring; 
 ha? 
 
m 
 
 ^ 
 
 I 
 
Scene V] THE MERCHANT OF VENICE 71 
 
 Jes. His words were "Farewell, mistress"; 
 nothing else. 
 
 Shy. The patch is kind enough, but a huge 
 feeder. 
 Snail-slow in profit, and he sleeps by day 
 More than the wild-cat: drones hive not with me; 
 Therefore I part with him, and part with him 
 To one that I would have him help to waste 
 His borrow'd purse. Well, Jessica, go in; 50 
 
 Perhaps I will return immediately; 
 Do as I bid you; shut doors after you: 
 Fast bind, fast find; 
 A proverb never stale in thrifty mind. [Exit 
 
 Jes. Farewell ; and if my fortune be not crost, 
 I have a father, you a daughter, lost. [Exit 
 
 Scene VI. The same 
 Enter Gratiano and Salarino masqued 
 
 Gra. This is* the pent-house under which Lorenzo 
 Desired us to make stand. 
 
 Salar. His hour is almost past. 
 
 Gra. And it is marvel he out-dwells his hour, 
 For lovers ever run before the clock. 
 
 Salar. 0, ten times faster Venus' pigeons fly 
 To seal love's bonds new made, than they are wont 
 To keep obliged faith unforfeited! 
 
 Gra. That ever holds : who riseth from a feast 
 With that keen appetite that he sits down? 
 Where is the horse that doth untread again 10 
 
72 THE MERCHANT OF VENICE [Act II 
 
 His tedious measures with the unbated fire 
 That he did pace them first? All things that are 
 Are with more spirit chased than enjoy 'd. 
 How like a younker or a prodigal 
 The scarfed bark puts from her native bay, 
 Hugg'd and embraced by the wanton wind! 
 How like a prodigal doth she return, 
 With over-weather' d ribs, and ragged sails, 
 Lean, rent, and beggar'd by the wanton wind! 
 Salar. Here comes Lorenzo; more of this here- 
 after. 20 
 Enter Lorenzo 
 
 Lor. Sweet friends, your patience for my long 
 abode; 
 Not I, but my affairs, have made you wait: 
 When you shall please to play the thieves for wives, 
 I'll watch as long for you then. Approach; 
 Here dwells my father Jew. — Ho! who's within? 
 
 Enter Jessica, above, in boy's clothes 
 
 Jes. Who are you? Tell me, for more certainty, 
 Albeit I'll swear that I do know your tongue. 
 
 Lor. Lorenzo, and thy love. 
 
 Jes. Lorenzo, certain; and my love, indeed; 
 For who love I so much? and now who knows 30 
 
 But you, Lorenzo, whether I am yours? 
 
 Lor. Heaven and thy thoughts are witness that 
 thou art. 
 
 Jes. Here, catch this casket; it is worth the pains. 
 I am glad 'tis night, you do not look on me, 
 
Scene VI] THE MERCHANT OF VENICE 73 
 
 For I am much ashamed. of my exchange: 
 But love is blind, and lovers cannot see 
 The pretty follies that themselves commit ; 
 For, if they could, Cupid himself would blush 
 To see me thus transformed to a boy. 
 
 Lor. Descend, for you must be my torch-bearer. 40 
 
 Jes. What, must I hold a candle to my shames? 
 They in themselves, good sooth, are too too light. 
 Why, 'tis an office of discovery, love; 
 And I should be obscured. 
 
 Lor. So you are, sweet, 
 
 Even in the lovely garnish of a boy. 
 But come at once; 
 
 For the close night doth play the runaway, 
 And we are stay' d for at Bassanio's feast. 
 
 Jes. I will make fast the doors, and gild myself 
 With some more ducats, and be with you straight. 50 
 
 [Exit above 
 
 Gra. Now, by my hood, a Gentile and no Jew. 
 
 Lor. Beshrew me, but I love her heartily: 
 For she is wise, if I can judge of her, 
 And fair she is, if that mine eyes be true, 
 And true she is, as she hath proved herself, 
 And therefore, like herself, wise, fair, and true, 
 Shall she be placed in my constant soul. 
 
 Enter Jessica, below 
 
 What, art thou come? On, gentlemen; away! 
 Our masquing mates by this time for us stay. 
 
 [Exit, with Jessica and Salarino 
 
74 THE MERCHANT OF VENICE [Act II 
 
 Enter Antonio 
 
 Ant. Who's there? , 60 
 
 Gra. Signior Antonio! 
 
 Ant. Fie, fie, Gratiano! where are all the rest? 
 'Pis nine o'clock; our friends all stay for you. 
 No masque to-night; the wind is come about; 
 Bassanio presently will go aboard: 
 I have sent twenty out to seek for you. 
 
 Gra. I am glad on't; I desire no more delight 
 Than to be under sail and gone to-night. [Exeunt 
 
 Scene VII. Belmont. A room in Portia's house 
 
 Flourish of cornets. Enter Portia, with the 
 Prince of Morocco, and both their trains 
 
 Por. Go, draw aside the curtains, and discover 
 The several caskets to this noble prince. 
 Now make your choice. 
 
 Mor. The first, of gold, who this inscription 
 bears : 
 
 Who chooseth me shall gain what many men desire. 
 The second, silver, which this promise carries: 
 
 Who chooseth me shall get as much as he deserves. 
 This third, dull lead, with warning all as bJunt: 
 
 Who chooseth me must give and hazard all he hath. 
 
 How shall I know if I do choose the right? 10 
 
 Por, The one of them contains my picture, prince ; 
 
Scene VII] THE MERCHANT OF VENICE 75 
 
 If you choose that, then I am yours withal. 
 
 Mor. Some god direct my judgement! Let me 
 see; 
 I will survey the inscriptions back again. 
 What says this leaden casket? 
 
 Who chooseth me must give and hazard all he hath. 
 
 Must give — for what? for lead? hazard for lead? 
 
 This casket threatens: men that hazard all 
 
 Do it in hope of fair advantages: 
 
 A golden mind stoops not to shows of dross; 20 
 
 I'll then nor give nor hazard aught for lead. 
 
 What says the silver with her virgin hue? 
 
 Who chooseth me shall get as much as he deserves. 
 
 As much as he deserves? — Pause there, Morocco, 
 
 And weigh thy value with an even hand: 
 
 If thou be'st rated by thy estimation, 
 
 Thou dost deserve enough; and yet enough 
 
 May not extend so far as to the lady: 
 
 And yet to be afeard of my deserving 
 
 Were but a weak disabling of myself. 30 
 
 As much as I deserve! Why, that's the lady: 
 
 I do in birth deserve her, and in fortunes, 
 
 In graces, and in qualities of breeding; 
 
 But more than these, in love I do deserve. 
 
 What if I stray'd no further, but chose here? 
 
 Let's see once more this saying graved in gold: 
 
 Who chooseth me shall gain what many men desire. 
 
76 THE MERCHANT OF VENICE [Act II 
 
 Why, that's the lady; all the world desires her: 
 From the four corners of the earth they come 
 To kiss this shrine, this mortal-breathing saint. 40 
 
 The Hyrcanian deserts and ths vasty wilds 
 Of wide Arabia are as throughfares now 
 For princes to come view fair Portia! 
 The watery kingdom, whose ambitious head 
 Spits in the face of heaven, is no bar 
 To stop the foreign spirits; but they come, 
 As o'er a brook, to see fair Portia. 
 One of these three contains her heavenly picture. 
 Is't like that lead contains her? 'Twere damnation 
 To think so base a thought: it were too gross 50 
 
 To rib her cerecloth in the obscure grave. 
 Or shall I think in silver she's immured, 
 Being ten times undervalued to tried gold? 
 sinful thought ! Never so rich a gem 
 Was set in worse than gold. They have in Eng- 
 land 
 A coin that bears the figure of an angel 
 Stamped in gold, but that's insculped upon; 
 But here an angel in a golden bed 
 Lies all within. Deliver me the key; 
 Here do I choose, and thrive I as I may! 60 
 
 Por. There, take it, prince; and, if my form lie 
 there, 
 Then I am yours. [He unlocks the golden casket 
 
 Mor. O hell ! what have we here? 
 
 A carrion death, within whose empty eye 
 There is a written scroll! I'll read the writing. 
 
Scene VII] THE MERCHANT OF VENICE 77 
 
 [Reads] All that glisters is not gold; 
 
 Often have you heard that told: 
 
 Many a man his life hath sold 
 
 But my outside to behold: 
 
 Gilded tombs do worms infold. 
 
 Had you been as wise as bold, 70 
 
 Young in limbs, in judgement old, 
 
 Your answer had not been inscrolVd: 
 
 Fare you well; your suit is cold. 
 
 Cold, indeed; and labour lost: 
 Then, farewell, heat; and welcome, frost! 
 Portia, adieu! I have too grieved a heart 
 To take a tedious leave : thus losers part. 
 
 [Exit, with his train. Flourish of cornets. 
 
 Por. A gentle riddance. Draw the curtains, go. 
 Let all of his complexion choose me so. [Exeunt 
 
 Scene VIII. Venice. A street 
 Enter Salarino and Salanio 
 Salar. Why, man, I saw Bassanio under sail; 
 With him is Gratiano gone along; 
 And in their ship I am sure Lorenzo is not. 
 
 Satan. The villain Jew with outcries raised the 
 duke, 
 Who went with him to search Bassanio's ship. 
 
 Salar. He came too late, the ship was under sail ; 
 But there the duke was given to understand 
 That in a gondola were seen together 
 Lorenzo and his amorous Jessica; 
 
78 THE MERCHANT OF VENICE [Act II 
 
 Besides, Antonio certified the duke 10 
 
 They were not with Bassanio in his ship. 
 
 Solan, I never heard a passion so confused, 
 So strange, outrageous, and so variable, 
 As the dog Jew did utter in the streets: 
 "My daughter! my ducats! my daughter! 
 Fled with a Christian! O my Christian ducats! 
 Justice! the law! my ducats, and my daughter! 
 A sealed bag, two sealed bags of ducats , 
 Of double ducats, stolen from me by my daughter! 
 And jewels, two stones, two rich and precious 
 
 stones, 20 
 
 Stolen by my daughter! Justice! find the girl! 
 She hath the stones upon her, and the ducats." 
 
 Solar, Why, all the boys in Venice follow him, 
 Crying his stones, his daughter, and his ducats. 
 
 Solan, Let good Antonio look he keep his day, 
 Or he shall pay for this. 
 
 Solar. Marry, well remember'd. 
 
 I reason'd with a Frenchman yesterday, 
 Who told me, in the narrow seas that part 
 The French and English, there miscarried 
 A vessel of our country, richly fraught: 30 
 
 I thought upon Antonio when he told me, 
 And wish'd in silence that it were not his. 
 
 Solan, You were best to tell Antonio what you 
 hear; 
 Yet do not suddenly, for it may grieve him. 
 
 Salar. A kinder gentleman treads not the earth. 
 I saw Bassanio and Antonio part: 
 
Scene VIII] THE MERCHANT OF VENICE 79 
 
 Bassanio told him he would make some speed 
 
 Of his return: he answer'd, "Do not so; 
 
 Slubber not business for my sake, Bassanio, 
 
 But stay the very riping of the time; 40 
 
 And for the Jew's bond which he hath of me, 
 
 Let it not enter in your mind of love; 
 
 Be merry ; and employ your chief est thoughts 
 
 To courtship, and such fair ostents of love 
 
 As shall conveniently become you there:" 
 
 And even there, his eye being big with tears, 
 
 Turning his face, he put his hand behind him, 
 
 And with affection wondrous sensible 
 
 He wrung Bassanio's hand; and so they parted. 
 
 Salan. I think he only loves the world for him. 50 
 I pray thee, let us go and find him out, 
 And quicken his embraced heaviness 
 With some delight or other. 
 
 Salar. Do we so. [Exeunt 
 
 Scene IX. Belmont A room in Portia's house 
 
 Enter Nerissa with a Servitor 
 Ner. Quick, quick, I pray thee; draw the 
 curtain straight; 
 The Prince of Arragon hath ta'en his oath, 
 And comes to his election presently. 
 
 Flourish of cornets. Enter the Prince of Arragon, 
 Portia, and their Trains 
 
 For. Behold, there stand the caskets, noble 
 prince; 
 
80 THE MERCHANT OF VENICE [Act II 
 
 If you choose that wherein I am contain'd, 
 Straight shall our nuptial rites be solemnized: 
 But if you fail, without more speech, my lord, 
 You must be gone from hence immediately. 
 
 Ar. I am enjoin'd by oath to observe three things : 
 First, never to unfold to any one 10 
 
 Which casket 'twas I chose; next, if I fail 
 Of the right casket, never in my life 
 To woo a maid in way of marriage; 
 Lastly, if I do fail in fortune of my choice, 
 Immediately to leave you and be gone. 
 
 Por. To these injunctions every one doth swear 
 That comes to hazard for my worthless self. 
 
 Ar. And so have I address' d me. Fortune now 
 To my heart's hope! Gold, silver, and base lead. 
 
 Who chooseth me mast give and hazard all he hath. 20 
 
 You shall look fairer, ere I give or hazard. 
 What says the golden chest? ha! let me see: 
 
 Who chooseth me shall gain what many men desire. 
 
 What many men desire! That "many" may be meant 
 
 By the fool multitude, that choose by show, 
 
 Not learning more than the fond eye doth teach, 
 
 Which pries not to the interior, but, like the martlet, 
 
 Builds in the weather on the outward wall, 
 
 Even in the force and road of casualty. 
 
 I will not choose what many men desire, 30 
 
 Because I will not jump with common spirits 
 
 And rank me with the barbarous multitudes. 
 
 Why, then to thee, thou silver treasure-house; 
 
Scene IX] THE MERCHANT OF VENICE 81 
 
 Tell me once more what title thou dost bear: 
 
 Who chooseth me shall get as much as he deserves. 
 
 And well said too; for who shall go about 
 
 To cozen fortune, and be honourable 
 
 Without the stamp of merit? Let none presume 
 
 To wear an undeserved dignity. 
 
 O, that estates, degrees, and offices 40 
 
 Were not derived corruptly, and that clear honour 
 
 Were purchased by the merit of the wearer! 
 
 How many then should cover that stand bare! 
 
 How many be commanded that command ! 
 
 How much low peasantry would then be glean'd 
 
 From the true seed of honour! and how much 
 
 honour 
 Pick'd from the chaff and ruin of the times 
 To be new-varnish'd! Well, but to my choice: 
 
 Who chooseth me shall get as much as he deserves. 
 
 I will assume desert. Give me a key for this, 50 
 
 And instantly unlock my fortunes here. 
 
 [He opens the silver casket 
 Por. Too long a pause for that which you find 
 
 there. 
 Ar. What's here? the portrait of a blinking idiot, 
 Presenting me a schedule! I will read it. 
 How much unlike art thou to Portia! 
 How much unlike my hopes and my deservings! 
 
 Who chooseth me shall get as much as he deserves. 
 
82 THE MERCHANT OF VENICE [Act II 
 
 Did I deserve no more than a fool's head? 
 Is that my prize? are my deserts no better? 
 
 Por. To offend and judge are distinct offices 60 
 
 And of opposed natures. 
 
 Ar. What is here? 
 
 [Reads] The fire seven times tried this: 
 
 Seven times tried that judgement is, 
 
 That did never choose amiss. 
 
 Some there be that shadows kiss; 
 
 Such have but a shadow's bliss: 
 
 There be fools alive, I wis, 
 
 Silver' d o'er; and so was this. 
 
 I will ever be your head: 
 
 So be gone: you are sped. 70 
 
 Still more fool I shall appear 
 
 By the time I linger here: 
 
 With one fool's head I came to woo, 
 
 But I go away with two. 
 
 Sweet, adieu! I'll keep my oath, 
 
 Patiently to bear my wroth. 
 
 [Exeunt Arragon and train 
 
 Por. Thus hath the candle singed the moth. 
 0, these deliberate fools! when they do choose, 
 They have the wisdom by their wit to lose. 
 
 Ner. The ancient saying is no heresy, — 80 
 
 Hanging and wiving goes by destiny. 
 
 Por. Come, draw the curtain, Nerissa. 
 
Scene IX] THE MERCHANT OF VENICE 83 
 
 Enter a Servant 
 
 Serv. Where is my lady? 
 
 Por. Here : what would my lord? 
 
 Serv. Madam, there is alighted at your gate 
 A young Venetian, one that comes before 
 To signify the approaching of his lord, 
 From whom he bringeth sensible regreets, 
 To wit, besides commends and courteous breath, 
 Gifts of rich value. Yet I have not seen 
 So likely an ambassador of love : 90 
 
 A day in April never came so sweet, 
 To show how costly summer was at hand, 
 As this fore-spurrer comes before his lord. 
 
 Por. No more, I pray thee: I am half afeard 
 Thou wilt say anon he is some kin to thee, 
 Thou spend'st such high-day wit in praising him. 
 Come, come, Nerissa; for I long to see 
 Quick Cupid's post that comes so mannerly. 
 
 Ner. Bassanio, lord Love, if thy will it be! 
 
 [Exeunt 
 
 ACT III 
 
 Scene I. Venice. A street 
 
 Enter Salanio and Salarino 
 
 Solan. Now, what news on the Rialto? 
 Salar. Why, yet it lives there unchecked that 
 Antonio hath a ship of rich lading wrecked on the 
 
84 THE MERCHANT OF VENICE [Act III 
 
 narrow seas, — the Goodwins I think they call the 
 place; a very dangerous flat, and fatal, where the car- 
 casses of many a tall ship lie buried, as they say, if 
 my gossip Report be an honest woman of her word. 
 
 Salan. I would she were as lying a gossip in 
 that as ever knapped ginger or made her neigh- 
 bours believe she wept for the death of a third 10 
 husband. But it is true, without any slips of pro- 
 lixity, or crossing the plain highway of talk, that the 
 good Antonio, the honest Antonio, — that I had a 
 title good enough to keep his name company ! — 
 
 Salar. Come, the full stop. 
 
 Salan. Ha ! what say 'st thou? Why, the end is, 
 he hath lost a ship. 
 
 Salar. I would it might prove the end of his losses. 
 
 Salan. Let me say "amen" betimes, lest the 
 devil cross my prayer, for here he comes in the 20 
 likeness of a Jew. 
 
 Enter Shylock 
 
 How now, Shylock! what news among the mer- 
 chants? 
 
 Shy. You knew, none so well, none so well as 
 you, of my daughter's flight. 
 
 Salar. That's certain. I, for my part, knew 
 the tailor that made the wings she flew withal. 
 
 Salan. And Shylock, for his own part, knew 
 the bird was fledged; and then it is the complexion 
 of them all to leave the dam. 30 
 
 Shy. She is damned for it. 
 
Scene I] THE MERCHANT OF VENICE 85 
 
 Salar. That's certain, if the devil may be her 
 judge. 
 
 Shy. My own flesh and blood to rebel! 
 
 Satan. Out upon it, old carrion! rebels it at 
 these years? 
 
 Shy. I say my daughter is my flesh and blood. 
 
 Salar. There is more difference between thy 
 flesh and hers than between jet and ivory; more 
 between your bloods than there is between red 40 
 wine and Rhenish. But tell us, do you hear 
 whether Antonio have had any loss at sea or no? 
 
 Shy. There I have another bad match: a 
 bankrupt, a prodigal, who dare scarce show his 
 head on the Rialto; a beggar that was used to 
 come so smug upon the mart; let him look to his 
 bond: he was wont to call me usurer; let him look 
 to his bond: he was wont to lend money for a 
 Christian courtesy; let him look to his bond. 
 
 Salar. Why, I am sure, if he forfeit, thou wilt 50 
 not take his flesh: what's that good for? 
 
 Shy. To bait fish withal; if it will feed nothing [\ 
 else, it will feed my revenge. He hath disgraced \ 
 me, and hindered me half a million; laughed at 
 my losses, mocked at my gains, scorned my nation, 
 thwarted my bargains, cooled my friends, heated 
 mine enemies; and what's his reason? I am a 
 Jew. Hath not a Jew eyes? hath not a Jew hands, 
 organs, dimensions, senses, affections, passions? 
 fed with the same food, hurt with the same wea- ed 
 pons, subject to the same diseases, healed by the 
 
86 THE MERCHANT OF VENICE [Act III 
 
 same means, warmed and cooled by the same winter 
 and summer, as a Christian is? If you prick us, 
 do we not bleed? If you tickle us, do we not laugh? 
 if you poison us, do we not die? and if you wrong 
 us, shall we not revenge? If we are like you in the 
 rest, we will resemble you in that. If a Jew wrong 
 a Christian, what is his humility? Revenge. If a 
 Christian wrong a Jew, what should his sufferance 
 be by Christian example? Why, revenge. The 70 
 villany you teach me, I will execute; and it shall 
 go hard but I will better the instruction. 
 
 Enter a Servant 
 Serv. Gentlemen, my master Antonio is at his 
 house and desires to speak with you both. 
 
 Salar. We have been up and down to seek him. 
 
 Enter Tubal 
 
 Salan. Here comes another of the tribe; a 
 third cannot be matched, unless the devil himself 
 turn Jew. 
 
 [Exeunt Salanio, Salarino, and Servant 
 
 Shy. How now, Tubal ! what news from Genoa? 
 hast thou found my daughter? 80 
 
 Tub. I often came where I did hear of her, but 
 cannot find her. 
 
 Shy. Why, there, there, there, there! a diamond 
 gone, cost me two thousand ducats in Frankfort! 
 The curse never fell upon our nation till now; I 
 never felt it till now: two thousand ducats in that; 
 and other precious, precious jewels. I would my 
 
Scene I] THE MERCHANT OF VENICE 87 
 
 daughter were dead at my foot, and the jewels in 
 her ear ! would she were hearsed at my foot, and the 
 ducats in her coffin! No news of them? Why, 90 
 so: and I know not what's spent in the search: 
 why, thou loss upon loss! the thief gone with so 
 much, and so much to find the thief; and no satis- 
 faction, no revenge: nor no ill luck stirring but 
 what lights o' my shoulders; no sighs but o' my 
 breathing; no tears but o' my shedding. 
 
 Tub. Yes, other men have ill luck too. An- 
 tonio, as I heard in Genoa,— 
 
 Shy. What, what, what? ill luck, ill luck? 
 
 Tub. Hath an argosy cast away, coming from 100 
 Tripolis. 
 
 Shy. I thank God, I thank God! Is it true, is 
 it true? 
 
 Tub. I spoke with some of the sailors that 
 escaped the wreck. 
 
 Shy. I thank thee, good Tubal: good news, 
 good news! ha, ha! Where? in Genoa? 
 
 Tub. Your daughter spent in Genoa, as I heard, 
 in one night fourscore ducats. 
 
 Shy. Thou stick'st a dagger in me : I shall never no 
 see my gold again. Fourscore ducats at a sitting! 
 fourscore ducats! 
 
 Tub. There came divers of Antonio's creditors 
 in my company to Venice, that swear he cannot 
 choose but break. 
 
 Shy. I am very glad of it: I'll plague him; 
 I'll torture him; I am glad of it. 
 
88 THE MERCHANT OF VENICE [Act III 
 
 Tub. One of them showed me a ring that he 
 had of your daughter for a monkey. 
 
 Shy. Out upon her! Thou torturest me, 120 
 Tubal : it was my turquoise : I had it of Leah when 
 I was a bachelor: I would not have given it for a 
 wilderness of monkeys. 
 
 Tub. But Antonio is certainly undone. 
 
 Shy. Nay, that's true, that's very true. Go, 
 Tubal, fee me an officer, bespeak him a fortnight 
 before. I will have the heart of him, if he forfeit ; 
 for, were he out of Venice, I can make what mer- 
 chandise I will. Go, Tubal, and meet me at our 
 synagogue; go, good Tubal; at our synagogue, 130 
 Tubal. [Exeunt 
 
 Scene II. Belmont. A room in Portia's house 
 Enter Bassanio, Portia, Gratiano, Nerissa, 
 and Attendants 
 For I pray you, tarry: pause a day or two 
 Before you hazard; for, in choosing wrong, 
 I lose your company; therefore forbear awhile. 
 There's something tells me, but it is not love, 
 I would not lose you; and you know yourself 
 Hate counsels not in such a quality. 
 But lest you should not understand me well — 
 And yet a maiden hath no tongue but thought — 
 I would detain you here some month or two 
 Before you venture for me. I could teach you 140 
 How to choose right, but then I am forsworn; 
 
Scene II] THE MERCHANT OF VENICE 89 
 
 So will I never be: so may you miss me; 
 
 But if you do, you'll make me wish a sin, 
 
 That I had been forsworn. Beshrew your eyes, 
 
 They have o'erlook'd me and divided me; 
 
 One half of me is yours, the other half yours, 
 
 Mine own, I would say; but if mine, then yours, 
 
 And so all yours. 0, these naughty times 
 
 Put bars between the owners and their rights! 
 
 And so, though yours, not yours. Prove it so, 20 
 
 Let fortune go to hell for it, not I. 
 
 I speak too long; but 'tis to peize the time, 
 
 To eke it and to draw it out in length, 
 
 To stay you from election. 
 
 Bass. Let me choose; 
 
 For, as I am, I live upon the rack. 
 
 Por. Upon the rack, Bassanio! then confess 
 What treason there is mingled with your love. 
 
 Bass. None but that ugly treason of mistrust, 
 Which makes me fear the enjoying of my love: 
 There may as well be amity and life 30 
 
 'Tween snow and fire, as treason and my love. 
 
 Por. Ay, but I fear you speak upon the rack, 
 Where men enforced do speak any thing. 
 
 Bass. Promise me life, and I'll confess the truth, 
 
 Por. Well, then, confess and live. 
 
 Bass. Confess and love 
 
 Had been the very sum of my confession: 
 happy torment, when my torturer 
 Doth teach me answers for deliverance! 
 But let me to my fortune and the caskets. 
 
90 THE MERCHANT OF VENICE [Act III 
 
 For. Away, then! I am lock' d in one of them: 40 
 If you do love me, you will find me out. 
 Nerissa and the rest, stand all aloof. 
 Let music sound while he doth make his choice; 
 Then, if he lose, he makes a swan-like end, 
 Fading in music : that the comparison 
 May stand more proper, my eye shall be the stream 
 And watery death-bed for him. He may win; 
 And what is music then? Then music is 
 Even as the flourish when true subjects bow 
 To a new-crowned monarch: such it is, 50 
 
 As are those dulcet sounds in break of day 
 That creep into the dreaming bridegroom's ear 
 And summon him to marriage. Now he goes, 
 With no more presence, but with much more love, 
 Than young Alcides, when he did redeem 
 The virgin tribute paid by howling Troy 
 To the sea-monster: I stand for sacrifice; 
 The rest aloof are the Dardanian wives, 
 With bleared visages, come forth to view 
 The issue of the exploit. Go, Hercules! 60 
 
 Live thou, I live. With much much more dismay 
 I view the fight than thou that mak'st the fray. 
 
 Music, whilst Bassanio comments on the caskets to 
 himself 
 
 SONG 
 Tell me where is fancy bred, 
 Or in the heart or in the headf 
 How begot, how nourished? 
 Reply, reply. 
 
Scene II] THE MERCHANT OF VENICE 91 
 
 It is engender' d in the eyes, 
 With gazing fed; and fancy dies 
 In the cradle where it lies. 
 
 Let us all ring fancy's knell; 70 
 
 I'll begin it,— Ding, dong, bell. 
 All. Ding, dong, bell. 
 
 Bass. So may the outward shows be least them- 
 selves : 
 The world is still deceived with ornament. 
 In law, what plea so taint ed and corrupt 
 But, being season'd with a gracious voice, 
 Obscures the show of evil? In religion, 
 What damned error, but some sober brow 
 Will bless it and approve it with a text, 
 Hiding the grossness with fair ornament? 80 
 
 There is no vice so simple but assumes 
 Some mark of virtue on his outward parts: 
 How many cowards, whose hearts are all as false 
 As stairs of sand, wear yet upon their chins 
 The beards of Hercules and frowning Mars, 
 Who, inward search'd, have livers white as milk; 
 And these assume but valour's excrement 
 To render them redoubted! Look on beauty, 
 And you shall see 'tis purchased by the weight; 
 Which therein works a miracle in nature, 90 
 
 Making them lightest that wear most of it : 
 So are those crisped snaky golden locks 
 Which make such wanton gambols with the wind, 
 Upon supposed fairness, often known 
 To be the dowry of a second head, 
 
02 THE MERCHANT OF VENICE [Act III 
 
 The skull that bred them in the sepulchre. 
 
 Thus ornament is but the guiled shore 
 
 To a most dangerous sea; the beauteous scarf 
 
 Veiling an Indian beauty; in a word, 
 
 The seeming truth which cunning times put on 100 
 
 To entrap the wisest. Therefore, thou gaudy gold, 
 
 Hard food for Midas, I will none of thee; 
 
 Nor none of thee, thou pale and common drudge 
 
 'Tween man and man : but thou, thou meagre lead, 
 
 Which rather threatenest than dost promise aught, 
 
 Thy paleness moves me more than eloquence; 
 
 And here choose I: joy be the consequence! 
 
 Por. [Aside] How all the other passions fleet to air, 
 As doubtful thoughts and rash-embraced despair 
 And shuddering fear, and green-eyed jealousy! no 
 
 love, be moderate; allay thy ecstasy; 
 In measure rain thy joy; scant this excess. 
 
 1 feel too much thy blessing : make it less, 
 For fear I surfeit! 
 
 Bass. What find I here? 
 
 [Opening the leaden casket 
 Fair Portia's counterfeit ! What demi-god 
 Hath come so near creation? Move these eyes? 
 Or whether, riding on the balls of mine, 
 Seem they in motion? Here are sever'd lips, 
 Parted with sugar breath : so sweet a bar 
 Should sunder such sweet friends. Here in her hairs 120 
 The painter plays the spider and hath woven 
 A golden mesh to entrap the hearts of men 
 Faster than gnats in cobwebs : but her eyes ! — 
 
Bassanio^ Choice 
 
Scene II] THE MERCHANT OF VENICE 93 
 
 How could he see to do them? having made one, 
 Methinks it should have power to steal both his, 
 And leave itself unfurnish'd. Yet look, how far 
 The substance of my praise doth wrong this shadow 
 In underprizing it, so far this shadow 
 Doth limp behind the substance. — Here's the scroll, 
 The continent and summary of my fortune. 130 
 
 [Reads] You that choose not by the view, 
 
 Chance as fair, and choose as true! 
 Since this fortune falls to you, 
 Be content, and seek no new. 
 If you be well pleased with this 
 And hold your fortune for your bliss, 
 Turn you where your lady is 
 And claim her with a loving kiss. 
 
 A gentle scroll. — Fair lady, by your leave; 
 
 I come by note, to give and to receive. 140 
 
 Like one of two contending in a prize, 
 
 That thinks he hath done well in people's eyes, 
 
 Hearing applause and universal shout, 
 
 Giddy in spirit, still gazing in a doubt 
 
 Whether those peals of praise be his or no; 
 
 So, thrice-fair lady, stand I, even so; 
 
 As doubtful whether what I see be true, 
 
 Until confirm'd, sign'd, ratified by you. 
 
 For. You see me, lord Bassanio, where I stand, 
 Such as I am : though for myself alone 150 
 
 I would not be ambitious in my wish, 
 To wish myself much better; yet for you 
 
94 THE MERCHANT OF VENICE [Act III 
 
 I would be trebled twenty times myself: 
 
 A thousand times more fair, ten thousand times 
 
 More rich; 
 
 That only to stand high in your account, 
 
 I might in virtues, beauties, livings, friends, 
 
 Exceed account : but the full sum of me 
 
 Is sum of — something, which, to term in gross, 
 
 Is an unlesson'd girl, unschool'd, unpractised; 160 
 
 Happ}^ in this, she is not yet so old 
 
 But she may learn ; happier then this, 
 
 She is not bred so dull but she can learn; 
 
 Happiest of all in that her gentle spirit 
 
 Commits itself to yours to be directed, 
 
 As from her lord, her governor, her king. 
 
 Myself and what is mine to you and yours 
 
 Is now converted : but now I was the lord 
 
 Of this fair mansion, master of my servants, 
 
 Queen o'er myself; and even now, but now, 170 
 
 This house, these servants, and this same myself 
 
 Are yours, my lord: I give them with this ring; 
 
 Which when you part from, lose, or give awajr, 
 
 Let it presage the ruin of your love, 
 
 And be my vantage to exclaim on you. 
 
 Bass. Madam, you have bereft me of all words; 
 Only my blood speaks to you in my veins: 
 And there is such confusion in my powers 
 As, after some oration fairly spoke 
 By a beloved prince, there doth appear iso 
 
 Among the buzzing, pleased multitude; 
 Where every something, being blent together, 
 
Scene II] THE MERCHANT OF VENICE 95 
 
 Turns to a wild of nothing, save of joy, 
 Express'd and not express'd. But when this ring 
 Parts from this finger, then parts life from hence; 
 O, then be bold to say Bassanio's dead! 
 
 Ner. My lord and lady, it is now our time, 
 That have stood by and seen our wishes prosper, 
 To cry, good joy: good joy, my lord and lady! 
 
 Gra. My lord Bassanio and my gentle lady, 190 
 I wish you all the joy that you can wish; 
 For I am sure you can wish none from me: 
 And when your honours mean to solemnize 
 The bargain of your faith, I do beseech you 
 Even at that time I may be married too. 
 
 Bass. With all my heart, so thou canst get a wife. 
 
 Gra. I thank your lordship ; you have got me one. 
 My eyes, my lord, can look as swift as yours : 
 You saw the mistress, I beheld the maid; 
 You loved, I loved; for intermission 200 
 
 No more pertains to me, my lord, than you. 
 Your fortune stood upon the caskets there, 
 And so did mine too, as the matter falls; 
 For wooing here until I sweat again, 
 And swearing till my very roof was dry 
 With oaths of love, at last, if promise last, 
 I got a promise of this fair one here 
 To have her love, provided that your fortune 
 Achieved her mistress. 
 
 Por. Is this true, Nerissa? 
 
 Ner. Madam, it is, so you stand pleased withal. 210 
 
 Bass. And do you, Gratiano, mean good faith? 
 
96 THE MERCHANT OF VENICE [Act III 
 
 Gra. Yes, faith, my lord. 
 
 Bass. Our feast shall be much honour' d in 
 
 your marriage. 
 Gra. But who comes here? Lorenzo, and his 
 
 infidel? 
 What, and my old Venetian friend Salanio? 
 
 Enter Lorenzo, Jessica, and Salanio 
 
 Bass. Lorenzo and Salanio, welcome hither; 
 If that the youth of my new interest here 
 Have power to bid you welcome. By your leave, 
 I bid my very friends and countrymen, 
 Sweet Portia, welcome. 
 
 Por. So do I, my lord; 220 
 
 They are entirely welcome. 
 
 Lor. I thank your honour. For my part, my lord, 
 My purpose was not to have seen you here; 
 But meeting with Salanio by the way, 
 He did entreat me, past all saying nay, 
 To come with him along. 
 
 Solan. I did, my lord; 
 
 And I have reason for it. Signior Antonio 
 Commends him to you. [Gives Bassanio a letter 
 
 Bass. Ere I ope his letter, 
 
 I pray you, tell me how my good friend doth. 
 
 Solan. Not sick, my lord, unless it be in mind; 230 
 Nor well, unless in mind: his letter there 
 Will show you his estate. 
 
 Gra. Nerissa, cheer yon stranger; bid her wel- 
 come. 
 
Scene II] THE MERCHANT OF VENICE 97 
 
 Your hand, Salanio. What's the news from Venice? 
 How doth that royal merchant, good Antonio? 
 I know he will be glad of our success; 
 We are the Jasons, we have won the fleece. 
 
 Salan. I would you had won the fleece that he 
 hath lost ! 
 
 Por. There are some shrewd contents in yon 
 same paper, 
 That steal the colour from Bassanio's cheek: 240 
 
 Some dear friend dead; else nothing in the world 
 Could turn so much the constitution 
 Of any constant man. What, worse and worse? 
 With leave, Bassanio ; I am half yourself, 
 And I must freely have the half of any thing 
 That this same paper brings you. 
 
 Bass. O sweet Portia, 
 
 Here are a few of the unpleasant'st words 
 That ever blotted paper! Gentle lady, 
 When I did first impart my love to you, 
 I freely told you, all the wealth I had 250 
 
 Ran in my veins — I was a gentleman; 
 And then I told you true : and yet, dear lady, 
 Rating myself at nothing, you shall see 
 How much I was a braggart. When I told you 
 My state was nothing, I should then have told you 
 That I was worse than nothing; for, indeed, 
 I have engaged myself to a dear friend, 
 Engaged my friend to his mere enemy, 
 To feed my means. Here is a letter, lady; 
 The paper as the body of my friend, 260 
 
98 THE MERCHANT OF VENICE [Act III 
 
 And every word in it a gaping wound, 
 Issuing life-blood. But is it true, Salanio? 
 Have all his ventures fail'd? What, not one hit? 
 From Tripolis, from Mexico, and England, 
 From Lisbon, Barbary, and India? 
 And not one vessel 'scape the dreadful touch 
 Of merchant-marring rocks? 
 
 Salan. Not one, my lord. 
 
 Besides, it should appear that if he had 
 The present money to discharge the Jew, 
 He would not take it. Never did I know 270 
 
 A creature that did bear the shape of man, 
 So keen and greedy to confound a man : 
 He plies the duke at morning and at night, 
 And doth impeach the freedom of the state, 
 If they deny him justice: twenty merchants, 
 The duke himself, and the magnificoes 
 Of greatest port, have all persuaded with him; 
 But none can drive him from the envious plea 
 Of forfeiture, of justice, and his bond. 
 
 Jes. When I was with him, I have heard him 
 swear 280 
 
 To Tubal, and to Chus, his countrymen, 
 That he would rather have Antonio's flesh 
 Than twenty times the value of the sum 
 That he did owe him; and I know, my lord, 
 If law, authority, and power deny not, 
 It will go hard with poor Antonio. 
 
 Por. Is it your dear friend that is thus in 
 trouble? 
 
Scene II] THE MERCHANT OF VENICE 99 
 
 Bass. The dearest friend to me, the kindest 
 man, 
 The best condition'd and unwearied spirit 
 In doing courtesies, and one in whom 290 
 
 The ancient Roman honour more appears 
 Than any that draws breath in Italy. 
 
 Por. What sum owes he the Jew? 
 
 Bass. For me three thousand ducats. 
 
 Por. What, no more? 
 
 Pay him six thousand, and deface the bond; 
 Double six thousand, and then treble that, 
 Before a friend of this description 
 Shall lose a hair through Bassanio's fault. 
 First go with me to church and call me wife, 
 And then away to Venice to your friend; 300 
 
 For never shall you lie by Portia's side 
 With an unquiet soul. You shall have gold 
 To pay the petty debt twenty times over: 
 When it is paid, bring your true friend along. 
 My maid Nerissa and myself meantime 
 Will live as maids and widows. Come, away! 
 For you shall hence upon your wedding-day: 
 Bid your friends welcome, show a merry cheer: 
 Since you are dear bought, I will love you dear. 
 But let me hear the letter of your friend. 319 
 
 Bass, [reads] Sweet Bassanio, my ships have all 
 miscarried, my creditors grow cruel, my estate is very 
 low, my bond to the Jew is forfeit; and since, in 
 paying it, it is impossible I should live, all debts are 
 cleared between you and I. If I might but see you 
 
100 THE MERCHANT OF VENICE [Act III 
 
 at my death— notwithstanding, use your pleasure: 
 if your love do not persuade you to come, let not my 
 letter. 
 
 Por. love, dispatch all business, and be gone! 
 
 Bass. Since I have your good leave to go away, 320 
 I will make haste : but, till I come again, 
 No bed shall e'er be guilty of my stay, 
 Nor rest be interposer 'twixt us twain. [Exeunt 
 
 Scene III. Venice. A street 
 Enter Shylock, Salarino, Antonio, and Gaoler 
 
 Shy. Gaoler, look to him : tell not me of mercy : 
 This is the fool that lends out money gratis : 
 Gaoler, look to him. 
 
 Ant. Hear me yet, good Shylock. 
 
 Shy. I'll have my bond; speak not against my 
 bond: 
 I have sworn an oath that I will have my bond. 
 Thou call'dst me dog before thou hadst a cause: 
 But, since I am a dog, beware my fangs: 
 The duke shall grant me justice. I do wonder, 
 Thou naughty gaoler, that thou art so fond 
 To come abroad with him at his request. 10 
 
 Ant. I pray thee, hear me speak. 
 
 Shy. I'll have my bond; I will not hear thee 
 speak: 
 I'll have my bond; and therefore speak no more. 
 I'll not be made a soft and dull-eyed fool, 
 To shake the head, relent, and sigh, and yield 
 
MEKUIAST OF VEMCE U k 
 
Scene III] THE MERCHANT OF VENICE 101 
 
 To Christian intercessors. Follow not; 
 
 I'll have no speaking; I will have my bond. [Exit 
 
 Solar. It is the most impenetrable cur 
 That ever kept with men. 
 
 Ant. Let him alone: 
 
 I'll follow him no more with bootless prayers. 20 
 
 He seeks my life; his reason well I know: 
 I oft deliver' d from his forfeitures 
 Many that have at times made moan to me; 
 Therefore he hates me. 
 
 Salar. I am sure the duke 
 
 Will never grant this forfeiture to hold. 
 
 Ant. The duke cannot deny the course of law; 
 For the commodity that strangers have 
 With us in Venice, if it be denied, 
 Will much impeach the justice of the state, 
 Since that the trade and profit of the city 30 
 
 Consisteth of all nations. Therefore, go: 
 These griefs and losses have so 'bated me 
 That I shall hardly spare a pound of flesh 
 To-morrow to my bloody creditor. 
 Well, gaoler, on. — Pray God, Bassanio come 
 To see me pay his debt, and then I care not ! [Exeunt 
 
 Scene IV. Belmont. A room in Portia's house 
 
 Enter Portia, Nerissa, Lorenzo, Jessica, 
 and Balthasar 
 
 Lor. Madam, although I speak it in your presence, 
 You have a noble and a true conceit 
 
102 THE MERCHANT OF VENICE [Act III 
 
 Of god-like amity; which appears most strongly 
 In bearing thus the absence of your lord. 
 But if you knew to whom you show this honour, 
 How true a gentleman you send relief, 
 How dear a lover of my lord your husband, 
 I know you would be prouder of the work 
 Than customary bounty can enforce you. 
 
 Por. I never did repent for doing good, 10 
 
 Nor shall not now: for in companions 
 That do converse and waste the time together, 
 Whose souls do bear an equal yoke of love, 
 There must be needs a like proportion 
 Of lineaments, of manners, and of spirit ; 
 Which makes me think that this Antonio, 
 Being the bosom lover of my lord, 
 Must needs be like my lord. If it be so, 
 How little is the cost I have bestow'd 
 In purchasing the semblance of my soul 20 
 
 From out the state of hellish cruelty! 
 This comes too near the praising of myself; 
 Therefore no more of it : hear other things. 
 Lorenzo, I commit into your hands 
 The husbandry and manage of my house 
 Until my lord's return: for mine own part, 
 I have toward heaven breathed a secret vow 
 To live in prayer and contemplation, 
 Only attended by Nerissa here, 
 
 Until her husband and my lord's return: • 30 
 
 There is a monastery two miles off, 
 And there we will abide. I do desire you 
 
Scene IV] THE MERCHANT OF VENICE 103 
 
 Not to deny this imposition, 
 
 The which my love and some necessity 
 
 Now lays upon you. 
 
 Lor. Madam, with all my heart; 
 
 I shall obey you in all fair commands. 
 
 Por. My people do already know my mind, 
 And will acknowledge you and Jessica 
 In place of lord Bassanio and myself. 
 So fare you well till we shall meet again. 40 
 
 Lor. Fair thoughts and happy hours attend on you ! 
 
 Jes. I wish your ladyship all heart's content. 
 
 Por. I thank you for your wish, and am well pleased 
 To wish it back on you: fare you well, Jessica. 
 
 [Exeunt Jessica and Lorenzo 
 Now, Balthasar, 
 
 As I have ever found thee honest-true, 
 So let me find thee still. Take this same letter, 
 And use thou all the endeavour of a man 
 In speed to Padua; see thou render this 
 Into my cousin's hand, Doctor Bellario; 50 
 
 And, look, what notes and garments he doth give thee, 
 Bring them, I pray thee, with imagined speed 
 Unto the traject, to the common ferry 
 Which trades to Venice. Waste no time in words, 
 But get thee gone; I shall be there before thee. 
 
 Balth. Madam, I go with all convenient speed. 
 
 [Exit 
 
 Por. Come on, Nerissa; I have work in hand 
 That you yet know not of: we'll see our husbands 
 Before they think of us. 
 
104 THE MERCHANT OF VENICE [Act III 
 
 Ner. Shall they see us? 
 
 Por. They shall, Nerissa; but in such a habit 60 
 That they shall think we are acccomplished 
 With that we lack. I'll hold thee any wager, 
 When we are both accoutred like young men, 
 111 prove the prettier fellow of the two, 
 And wear my dagger with the braver grace; 
 And speak, between the change of man and boy 
 With a reed voice, and turn two mincing steps 
 Into a manly stride; and speak of frays, 
 Like a fine-bragging youth, and tell quaint lies, 
 How honourable ladies sought my love, 70 
 
 Which I denying, they fell sick and died; 
 I could not do withal: then I'll repent, 
 And wish, for all that, that I had not kill'd them; 
 And twenty of these puny lies I'll tell, 
 That men shall swear I've discontinued school 
 Above a twelvemonth: I have within my mind 
 A thousand raw tricks of these bragging Jacks, 
 Which I will practice. 
 
 But come, I'll tell thee all my whole device 
 When I am in my coach, which stays for us so 
 
 At the park gate; and therefore haste away, 
 For we must measure twenty miles to-day. [Exeunt 
 
 Scene V. The same. A garden 
 
 Enter Launcelot and Jessica 
 
 Laun. Yes, truly; for, look you, the sins of the 
 father are to be laid upon the children : therefore, I 
 
Scene V] THE MERCHANT OF VENICE 105 
 
 promise you, I fear you. I was always plain with 
 you, and so now I speak my agitation of the mat- 
 ter: therefore be of good cheer, for truly, I think 
 you are damned. 
 
 Jes. I shall be saved by my husband; he hath 
 made me a Christian. 
 
 Laun. Truly, the more to blame he: we were 
 Christians enow before; e'en as many as could 10 
 well live, one by another. This making of 
 Christians will raise the price of hogs; if we grow 
 all to be pork-eaters, we shall not shortly have a 
 rasher on the cpals for money. 
 
 Enter Lorenzo 
 
 Jes. I'll tell my husband, Launcelot, what you 
 say; here he comes. 
 
 Lor. I shall grow jealous of you shortly, Launce- 
 lot, if you thus get my wife into corners. 
 
 Jes. Nay, you need not fear us, Lorenzo. 
 Launcelot and I are out. He tells me flatly, there 20 
 is no mercy for me in heaven, because I am a Jew's 
 daughter: and he says you are no good member of 
 the commonwealth, for in converting Jews to 
 Christians, you raise the price of pork. 
 
 Lor. How every fool can play upon the word! 
 I think the best grace of wit will shortly turn into 
 silence and discourse grow commendable in none 
 only but parrots. Go in, sirrah; bid them pre- 
 pare for dinner. 
 
 Laun. That is done, sir; they have all stomachs. 30 
 
106 THE MERCHANT OF VENICE [Act III 
 
 Lor. Goodly Lord, what a wit-snapper are you! 
 then bid them prepare dinner. 
 
 Laun. That is done, too, sir; only "cover" is 
 the word. 
 
 Lor. Will you cover, then, sir? 
 
 Laun. Not so, sir, neither; I know my duty. 
 
 Lor. Yet more quarrelling with occasion ! Wilt 
 thou show the whole wealth of thy wit in an in- 
 stant? I pray thee, understand a plain man in his 
 plain meaning: go to thy fellows; bid them cover 40 
 the table, serve in the meat, and we will come in 
 to dinner. 
 
 Laun. For the table, sir, it shall be served in; 
 for the meat, sir, it shall be covered; for your com- 
 ing in to dinner, sir, why, let it be as humours and 
 conceits shall govern. [Exit 
 
 Lor. O dear discretion, how his words are suited ! 
 The fool hath planted in his memory 
 An army of good words; and I do know 
 A many fools, that stand in better place, 50 
 
 Garnish'd like him, that for a tricksy word 
 Defy the matter. How cheer'st thou, Jessica? 
 And now, good sweet, say thy opinion : 
 How dost thou like the lord Bassanio's wife? 
 
 Jes. Past all expressing. It is very meet 
 The lord Bassanio live an upright life; 
 For, having such a blessing in his lady, 
 He finds the joys of heaven here on earth; 
 And if on earth he do not mean it, then 
 In reason he should never come to heaven, go 
 
Scene V] THE MERCHANT OF VENICE 107 
 
 Why, if two gods should play some heavenly match 
 And on the wager lay two earthly women, 
 And Portia one, there must be something else 
 Pawn'd with the other; for the poor rude world 
 Hath not her fellow. 
 
 Lor. Even such a husband 
 
 Hast thou of me as she is for a wife. 
 
 Jes. Nay, but ask my opinion too of that. 
 
 Lor. I will anon; first, let us go to dinner. 
 
 Jes. Nay, let me praise you while I have a 
 stomach. 
 
 Lor. No, pray thee, let it serve for table-talk; 70 
 Then, howsoe'er thou speak'st, 'mong other things 
 I shall digest it. 
 
 Jes. Well, I'll set you forth. [Exeunt 
 
 ACT IV 
 
 Scene I. Venice. A court of justice 
 
 Enter the Duke, the Magnificoes, Antonio, Bassanio, 
 Gratiano, Salarino, Salerio, and others 
 
 Duke. What, is Antonio here? 
 
 Ant. Ready, so please your grace. 
 
 Duke. I am sorry for thee; thou art come to answer 
 A stony adversary, an inhuman wretch 
 Uncapable of pity, void and empty 
 From any dram of mercy. 
 
108 THE MERCHANT OF VENICE [Act IV 
 
 Ant. I have heard 
 
 Your grace hath ta'en great pains to qualify 
 His rigorous course; but since he stands obdurate 
 And that no lawful means can carry me 
 Out of his envy's reach, I do oppose 10 
 
 My patience to his fury; and am arm'd 
 To suffer, with a quietness of spirit, 
 The very tyranny and rage of his. 
 
 Duke. Go one, and call the Jew into the court. 
 
 Salerio. He is ready at the door: he comes, my 
 lord. 
 
 Enter Shylock: 
 
 Duke. Make room, and let him stand before 
 our face. 
 Shylock, the world thinks, and I think so too, 
 That thou but lead'st this fashion of thy malice 
 To the last hour of act; and then 'tis thought 
 Thou'lt show thy mercy and remorse more strange 20 
 Than is thy strange apparent cruelty; 
 And where thou now exact' st the penalty, 
 Which is a pound of this poor merchant's flesh, 
 Thou wilt not only loose the forfeiture, 
 But, touch'd with human gentleness and love, 
 Forgive a moiety of the principal, 
 Glancing an eye of pity on his losses, 
 That have of late so huddled on his back, 
 Enough to press a royal merchant down 
 And pluck commiseration of his state 30 
 
 From brassy bosoms and rough hearts of flint, 
 From stubborn Turks and Tartars, never train'd 
 
Scene I] THE MERCHANT OF VENICE 109 
 
 To offices of tender courtesy. 
 
 We all expect a gentle answer, Jew. 
 
 Shy. I have possess'd your grace of what I 
 purpose; 
 And by our holy Sabbath have I sworn 
 To have the due and forfeit of my bond : 
 If you deny it, let the danger light 
 Upon your charter and your city's freedom. 
 You'll ask me, why I rather choose to have 40 
 
 A weight of carrion flesh than to receive 
 Three thousand ducats: I'll not answer that: 
 But say it is my humour: is it answer'd? 
 What if my house be troubled with a rat, 
 And I be pleased to give ten thousand ducats 
 To have it baned? What, are you answer'd yet? 
 Some men there are love not a gaping pig; 
 Some that are mad if they behold a cat; 
 And others, at the bagpipe: for affection, 
 Mistress of passion, sways it to the mood 50 
 
 Of what it likes or loathes. Now, for your answer: 
 As there is no firm reason to be render 'd, 
 Why he cannot abide a gaping pig; 
 Why he, a harmless necessary cat; 
 Why he, a wauling bagpipe; but of force 
 Must yield to such inevitable shame 
 As to offend, himself being offended; 
 So can I give no reason, nor will I not, 
 More than a lodged hate and a certain loathing 
 I bear Antonio, that I follow thus 60 
 
 A losing suit against him. Are you answer'd? 
 
110 THE MERCHANT OF VENICE [Act IV 
 
 Bass. This is no answer, thou unfeeling man, 
 To excuse the current of thy cruelty. 
 
 Shy. I am not bound to please thee with my answers. 
 
 Bass. Do all men kill the things they do not love? 
 
 Shy. Hates any man the thing he would not kill? 
 
 Bass. Every offence is not a hate at first. 
 
 Shy. What, wouldst thou have a serpent sting 
 thee twice? 
 
 Ant. I pray you, think you question with the Jew : 
 You may as well go stand upon the beach 70 
 
 And bid the main flood bate his usual height; 
 You may as well use question with the wolf 
 Why he hath made the ewe bleat for the lamb; 
 You may as well forbid the mountain pines 
 To wag their high tops, and to make no noise 
 When they are fretten with the gusts of heaven; 
 You may as well do any thing most hard, 
 As seek to soften that — than which what's harder? — 
 His Jewish heart: therefore, I do beseech you, 
 Make no more offers, use no further means, 80 
 
 But with all brief and plain conveniency 
 Let me have judgement and the Jew his will. 
 
 Bass. For thy three thousand ducats here is six. 
 
 Shy. If every ducat in six thousand ducats 
 Were in six parts and every part a ducat, 
 I would not draw them; I would have my bond. 
 
 Duke. How shalt thou hope for mercy, render- 
 ing none? 
 . Shy. What judgement shall I dread, doing no wrong? 
 You have among you many a purchased slave, 
 
Scene I] THE MERCHANT OF VENICE 111 
 
 Which, like your asses and your dogs and mules, 90 
 
 You use in abject and in slavish parts, 
 
 Because you bought them : shall I say to you, 
 
 Let them be free, marry them to your heirs? 
 
 Why sweat they under burthens? Let their beds 
 
 Be made as soft as yours, and let their palates 
 
 Be season'd with such viands? You will answer, 
 
 "The slaves are ours": so do I answer you: 
 
 The pound of flesh which I demand of him 
 
 Is dearly bought; 'tis mine, and I will have it: 
 
 If you deny me, fie upon your law! 100 
 
 There is no force in the decrees of Venice. 
 
 I stand for judgement: answer, shall I have it? 
 
 Duke. Upon my power I may dismiss this court, 
 Unless Bellario, a learned doctor, 
 Whom I have sent for to determine this, 
 Come here to-day. 
 
 Salerio. My lord, here stays without 
 
 A messenger with letters from the doctor, 
 New come from Padua. 
 
 Duke. Bring us the letters; call the messenger. 
 
 Bass. Good cheer, Antonio! What, man, cour- 
 age yet! 110 
 The Jew shall have my flesh, blood, bones, and all, 
 Ere thou shalt lose for me one drop of blood. 
 
 Ant. I am a tainted wether of the flock, 
 Meetest for death: the weakest kind of fruit 
 Drops earliest to the ground; and so let me: 
 You cannot better be employ'd, Bassanio, 
 Than to live still and write mine epitaph. 
 
112 THE MERCHANT OF VENICE [Act IV 
 
 Enter Nerissa, dressed like a lawyer's clerk 
 
 Duke. Came you from Padua, from Bellario? 
 
 Ner. From both, my lord : Bellario greets your 
 grace. [Presenting a letter 
 
 Bass. Why dost thou whet thy knife so earnestly? 1 20 
 
 Shy. To cut the forfeit from that bankrupt there. 
 
 Gra. Not on thy sole, but on thy soul, harsh Jew, 
 Thou mak'st thy knife keen; but no metal can, 
 No, not the hangman's axe, bear half the keenness 
 Of thy sharp envy. Can no prayers pierce thee? 
 
 Shy. No, none that thou hast wit enough to make. 
 
 Gra. 0, be thou damn'd, inexorable dog! 
 And for thy life let justice be accused. 
 Thou almost mak'st me waver in my faith 
 To hold opinion with Pythagoras 130 
 
 That souls of animals infuse themselves 
 Into the trunks of men : thy currish spirit 
 Govern'd a wolf, who, hang'd for human slaughter, 
 Even from the gallows did his fell soul fleet, 
 And, whilst thou lay'st in thy unhallow'd dam, 
 Infused itself in thee; for thy desires 
 Are wolfishness, bloody, starv'd and ravenous. 
 
 Shy. Till thou canst rail the seal from off my 
 bond, 
 Thou but offend'st thy lungs to speak so loud: 
 Repair thy wit, good youth, or it will fall 140 
 
 To cureless ruin. I stand here for law. 
 
 Duke. This letter from Bellario doth commend 
 A young and learned doctor to our court. 
 Where is he? 
 
Scene I] THE MERCHANT OF VENICE 113 
 
 Ner. He attendeth here hard by, 
 
 To know your answer, whether you'll admit him. 
 
 Duke. With all my heart. Some three or four 
 of you 
 Go give him courteous conduct to this place. 
 Meantime the court shall hear Bellario's letter. 
 
 Clerk [reads]. 
 
 Your grace shall understand that at the receipt of 
 your letter I am very sick; but in the instant that 150 
 your messenger came, in loving visitation was with 
 me a young doctor of Rome; his name is Balthasar. 
 I acquainted him with the cause in controversy 
 between the Jew and Antonio the merchant: we 
 turned o'er many books together: he is furnished 
 with my opinion, which, bettered with his own 
 learning, the greatness whereof I cannot enough 
 commend, comes with him, at my importunity, to 
 fill up your grace's request in my stead. I beseech 
 you, let his lack of years be no impediment to let him 160 
 lack a reverend estimation, for I never knew so 
 young a body with so old a head. I leave him to 
 your gracious acceptance, whose trial shall better 
 publish his commendation. 
 
 Duke. You hear the learn'd Bellario, what he 
 writes : 
 And here, I take it, is the doctor come. 
 
 Enter Portia, dressed like a doctor of laws 
 
 Give me your hand. Come you from old Bellario? 
 Por. I did, my lord. 
 
114 THE MERCHANT OF VENICE [Act IV 
 
 Duke. You are welcome: take your place. 
 
 Are you acquainted with the difference 
 That holds this present question in the court? 170 
 
 Por. I am informed throughly of the cause. 
 Which is the merchant here, and which the Jew? 
 
 Duke. Antonio and old Shylock, both stand forth. 
 
 Por. Is your name Shylock? 
 
 Shy. Shylock is my name. 
 
 Por. Of a strange nature is the suit you follow; 
 Yet in such rule that the Venetian law 
 Cannot impugn you as you do proceed. — 
 [To Antonio] You stand within his danger, do 
 you not? 
 
 Ant. Ay, so he says. 
 
 Por. Do you confess the bond? 
 
 Ant. I do. 
 
 Por. Then must the Jew be merciful. 180 
 
 Shy. On what compulsion must I? tell me that. 
 
 Por. The quality of mercy is not strain'd; 
 It droppeth as the gentle rain from heaven 
 Upon the place beneath : it is twice blest ; 
 It blesseth him that gives, and him that takes: 
 'Tis mightiest in the mightiest : it becomes 
 The throned monarch better than his crown; 
 His sceptre shows the force of temporal power, 
 The attribute to awe and majesty, 
 Wherein doth sit the dread and fear of kings; 190 
 
 But mercy is above this sceptred sway; 
 It is enthroned in the hearts of kings, 
 It is an attribute to God himself; 
 
Scene I] THE MERCHANT OF VENICE 115 
 
 And earthly power doth then show likest God's 
 
 When mercy seasons justice. Therefore, Jew, 
 
 Though justice be thy plea, consider this, — 
 
 That in the course of justice none of us 
 
 Should see salvation : we do pray for mercy, 
 
 And that same prayer doth teach us all to render 
 
 The deeds of mercy. I have spoke thus much 200 
 
 To mitigate the justice of thy plea, 
 
 Which if thou follow, this strict court of Venice 
 
 Must needs give sentence 'gainst the merchant there. 
 
 Shy. My deeds upon my head ! I crave the law, 
 The penalty and forfeit of my bond. 
 
 Por. Is he not able to discharge the money? 
 
 Bass. Yes, here I tender it for him in the court ; 
 Yea, twice the sum : if that will not suffice, 
 I will be bound to pay it ten times o'er, 
 On forfeit of my hands, my head, my heart: 210 
 
 If this will not suffice, it must appear 
 That malice bears down truth. And I beseech you, 
 Wrest once the law to your authority: 
 To do a great right do a little wrong, 
 And curb this cruel devil of his will. 
 
 Por. It must not be ; there is no power in Venice 
 Can alter a decree established : 
 'Twill be recorded for a precedent, 
 And many an error by the same example 
 Will rush into the state. It cannot be. 220 
 
 Shy. A Daniel come to judgement ! yea, a Daniel ! 
 wise young judge, how do I honour thee! 
 
 Por. I pray you, let me look upon the bond. 
 
116 THE MERCHANT OF VENICE [Act IV 
 
 Shy. Here 'tis, most reverend doctor, here it is. 
 
 Por. Shylock, there's thrice thy money offer'd 
 thee. 
 
 Shy. An oath, an oath, I have an oath in heaven : 
 Shall I lay perjury upon my soul? 
 No, not for Venice. 
 
 Por. Why, this bond is forfeit; 
 
 And lawfully by this the Jew may claim 
 A pound of flesh, to be by him cut off 230 
 
 Nearest the merchant's heart. Be merciful; 
 Take thrice thy money; bid me tear the bond. 
 
 Shy. When it is paid according to the tenour. 
 It doth appear you are a worthy judge; 
 You know the law, your exposition 
 Hath been most sound : I charge you by the law, 
 Whereof you are a well-deserving pillar, 
 Proceed to judgement. By my soul I swear 
 There is no power in the tongue of man 
 To alter me : I stay here on my bond. 240 
 
 Ant. Most heartily I do beseech the court 
 To give the judgement. 
 
 Por. Why, then, thus it is: 
 
 You must prepare your bosom for his knife. 
 
 Shy. O noble judge! excellent young man! 
 
 Por. For the intent and purpose of the law 
 Hath full relation to the penalty 
 Which here appeareth due upon the bond. 
 
 Shy. 'Tis very true: O wise and upright judge! 
 How much more elder art thou than thy looks ! 
 
 Por* Therefore lay bare your bosom. 
 
Scene I] THE MERCHANT OF VENICE 117 
 
 Shy. Ay, his breast : 250 
 
 So says the bond: doth it not, noble judge? 
 "Nearest his heart": those are the very words. 
 
 Por. It is so. Are there balance here to weigh 
 the flesh? 
 
 Shy. I have them ready. 
 
 Por. Have by some surgeon, Shylock, on your 
 charge, 
 To stop his wounds, lest he do bleed to death. 
 
 Shy. Is it so nominated in the bond? 
 
 Por. It is not so expressed; but what of that? 
 'Twere good you do so much for charity. 
 
 Shy. I cannot find it; 't is not in the bond. 260 
 
 Por. You, merchant, have you any thing to say? 
 
 Ant. But little; I'm arm'd and well prepared. 
 Give me your hand, Bassanio: fare you well! 
 Grieve not that I am fallen to this for you; 
 For herein Fortune shows herself more kind 
 Than is her custom: it is still her use 
 To let the wretched man outlive his wealth, 
 To view with hollow eye and wrinkled brow 
 An age of poverty; from which lingering penance 
 Of such misery doth she cut me off. 270 
 
 Commend me to your honourable wife: 
 Tell her the process of Antonio's end; 
 Say how I loved you, speak me fair in death; 
 And, when the tale is told, bid her be judge 
 Whether Bassanio had not once a love. 
 Repent not you that you shall lose your friend, 
 And he repents not that he pays your debt; 
 
US THE MERCHANT OF VENICE [Act IV 
 
 For if the Jew do cut but deep enough, 
 I'll pay it instantly with all my heart. 
 
 Bass. Antonio, I am married to a wife 280 
 
 Which is as dear to me as life itself; 
 But life itself, my wife, and all the world, 
 Are not with me esteem'd above thy life; 
 I would lose all, ay, sacrifice them all 
 Here to this devil to deliver you. 
 
 Por. Your wife would give you little thanks for 
 that, 
 If she were by, to hear you make the offer. 
 
 Gra. I have a wife, whom, I protest, I love; 
 I would she were in heaven, so she could 
 Entreat some power to change this currish Jew. ' 290 
 
 Ner. 'T is well you offer it behind her back; 
 The wish would make else an unquiet house. 
 
 Shy. [Aside] These be the Christian husbands. 
 I have a daughter; 
 Would any of the stock of Barrabas 
 Had been her husband rather than a Christian! — 
 [To Portia] We trifle time; I pray thee, pursue 
 sentence. 
 
 Por. A pound of that same merchant's flesh is thine ; 
 The court awards it, and the law doth give it. 
 
 Shy. Most rightful judge! 
 
 Por. And you must cut this flesh from off his 
 breast; 300 
 
 The law allows it, and the court awards it. 
 
 Shy. Most learned judge! A sentence! Come, 
 prepare. 
 
Scene I] THE MERCHANT OF VENICE 119 
 
 Por. Tarry a little; there is something else. 
 This bond doth give thee here no jot of blood; 
 The words expressly are "a pound of flesh": 
 Take then thy bond, take thou thy pound of flesh; 
 But, in the cutting of it, if thou dost shed 
 One drop of Christian blood, thy lands and goods 
 Are, by the laws of Venice, confiscate 
 Unto the state of Venice. 3io 
 
 Gra. upright judge! Mark, Jew: learned 
 judge! 
 
 Shy. Is that the law? 
 
 Por. Thyself shall see the act: 
 
 For, as thou urgest justice, be assured ' 
 Thou shalt have justice, more than thou desirest. 
 
 Gra. O learned judge! Mark, Jew; a learned 
 judge! 
 
 Shy. I take this offer, then ; pay the bond thrice, 
 And let the Christian go. 
 
 Bass. Here is the money. 
 
 Por. Soft! 
 The Jew shall have all justice; soft! no haste: 
 He shall have nothing but the penalty. 320 
 
 Gra. Jew! an upright judge, a learned judge! 
 
 Por. Therefore prepare thee to cut off the flesh. 
 Shed thou no blood; nor cut thou less nor more 
 But just a pound of flesh: if thou cut'st more 
 Or less than a just pound, — be it but so much 
 As makes it light or heavy in the substance, 
 Or the division of the twentieth part 
 % Of one poor scruple, nay, if the scale do turn 
 
120 THE MERCHANT OF VENICE [Act IV 
 
 But in the estimation of a hair, 
 
 Thou diest, and all thy goods are confiscate. 330 
 
 Gra. A second Daniel, a Daniel, Jew! 
 Now, infidel, I have thee on the hip. 
 
 Por. Why doth the Jew pause? take thy forfei- 
 ture. 
 
 Shy. Give me my principal, and let me go. 
 
 Bass. I have it ready for thee; here it is. 
 
 Por. He hath refused it in the open court; 
 He shall have merely justice and his bond. 
 
 Gra. A Daniel, still say I, a second Daniel ! 
 I thank thee, Jew, for teaching me that word. 
 
 Shy. Shall I not have barely my principal? 340 
 
 Por. Thou shalt have nothing but the forfeiture, 
 To be so taken at thy peril, Jew. 
 
 Shy. Why, then the devil give him good of it! 
 I'll stay no longer question. 
 
 Por. Tarry, Jew: 
 
 The law hath yet another hold on you. 
 It is enacted in the laws of Venice, 
 If it be proved against an alien 
 That by direct or indirect attempts 
 He seek the life of any citizen, 
 
 The party 'gainst the which he doth contrive 350 
 
 Shall seize one half his goods; the other half 
 Comes to the privy coffer of the state; 
 And the offender's life lies in the mercy 
 Of the duke only, 'gainst all other voice. 
 In which predicament, I say, thou stand'st; 
 For it appears, by manifest proceeding, 
 
Scene I] THE MERCHANT OF VENICE 121 
 
 That indirectly and directly too 
 
 Thou hast contrived against the very life 
 
 Of the defendant; and thou hast incurr'd 
 
 The danger formerly by me rehearsed. 360 
 
 Down, therefore, and beg mercy of the duke. 
 
 Gra. Beg that thou mayst have leave to hang 
 thyself: 
 And yet, thy wealth being forfeit to the state, 
 Thou hast not left the value of a cord; 
 Therefore thou must be hang'd at the state's charge. 
 
 Duke. That thou shalt see the difference of our 
 spirits, 
 I pardon thee thy life before thou ask it: 
 For half thy wealth, it is Antonio's; 
 The other half comes to the general state, 
 Which humbleness may drive unto a fine. 370 
 
 Por. Ay, for the state, not for Antonio. 
 
 Shy. Nay, take my life and all ; pardon not that : 
 You take my house when you do take the prop 
 That doth sustain my house; you take my life 
 When you do take the means whereby I live. 
 
 Por. What mercy can you render him, Antonio? 
 
 Gra. A halter gratis ; nothing else, for God's sake. 
 
 A nt. So please my lord the duke and all the cou rt 
 To quit the fine for one half of his goods, 
 I am content; so he will let me have 380 
 
 The other half in use, to render it, 
 Upon his death, unto the gentleman 
 That lately stole his daughter: 
 Two things provided more, — that, for this favour, 
 
122 THE MERCHANT OF VENICE [Act IV 
 
 He presently become a Christian; 
 The other, that he do record a gift, 
 Here in the court, of all he dies possess'd, 
 Unto his son Lorenzo and his daughter. 
 
 Duke. He shall do this; or else I do recant 
 The pardon that I late pronounced here. 300 
 
 Por. Art thou contented, Jew? what dost thou 
 say? 
 
 Shy. I am content. 
 
 Por. Clerk, draw a deed of gift. 
 
 Shy. I pray you, give me leave to go from hence : 
 I am not well; send the deed after me 
 And I will sign it. 
 
 Duke. Get thee gone, but do it. 
 
 Gra. In christening thou shalt have two god- 
 fathers : 
 Had I been judge, thou shouldst have had ten more, 
 To bring thee to the gallows, not the font. 
 
 [Exit Shylock 
 
 Duke. Sir, I entreat you home with me to dinner. 
 
 Por. I humbly do desire your grace of pardon : 400 
 I must away this night toward Padua, 
 And it is meet I presently set forth. 
 
 Duke. I am sorry that your leisure serves you 
 not. 
 Antonio, gratify this gentleman; 
 For, in my mind, you are much bound to him. 
 
 [Exeunt Duke and his train 
 
 Bass. Most worthy gentleman, I and my friend 
 Have by your wisdom been this day acquitted 
 
Scene I] THE MERCHANT OF VENICE 123 
 
 Of grievous penalties; in lieu whereof, 
 
 Three thousand ducats, due unto the Jew, 
 
 We freely cope your courteous pains withal. 410 
 
 Ant. And stand indebted, over and above, 
 In love and service to you evermore. 
 
 Por. He is well paid that is well satisfied; 
 And I, delivering you, am satisfied, 
 And therein do account myself well paid : 
 My mind was never yet more mercenary. 
 I pray you, know me when we meet again : 
 I wish you well, and so I take my leave. 
 
 Bass. Dear sir, of force I must attempt you 
 further : 
 Take some remembrance of us, as a tribute, 420 
 
 Not as a fee: grant me two things, I pray you, 
 Not to deny me, and to pardon me. 
 
 Por. You press me far, and therefore I will yield. 
 [To Ant.] Give me your gloves, I'll wear them 
 
 for your sake; 
 [To Bass.} And, for your love, I'll take this ring 
 
 from you: 
 Do not draw back your hand; I'll take no more; 
 And you in love shall not deny me this. 
 
 Bass. This ring, good sir, alas, it is a trifle! 
 I will not shame myself to give you this. 
 
 Por. I will have nothing else but only this; 430 
 
 And now methinks I have a mind to it. 
 
 Bass. There's more depends on this than on 
 the value. 
 The dearest ring in Venice will I give you, 
 
124 THE MERCHANT OF VENICE [Act IV 
 
 And find it out by proclamation: 
 Only for this, I pray you, pardon me. 
 
 Por. I see sir, you are liberal in offers : 
 You taught me first to beg; and now methinks 
 You teach me how a beggar should be answer' d. 
 
 Bass. Good sir, this ring was given me by my wife ; 
 And when she put it on, she made me vow 440 
 
 That I should neither sell nor give nor lose it. 
 
 Por. That 'scuse serves many men to save their gifts. 
 An if your wife be not a mad-woman 
 And know how well I have deserved this ring, 
 She would not hold out enemy forever 
 For giving it to me. Well, peace be with you! 
 
 [Exeunt Portia and Nerissa 
 
 Ant. My lord Bassanio, let him have the ring; 
 Let his deservings and my love withal 
 Be valued 'gainst your wife's commandment. 
 
 Bass. Go, Gratiano, run and overtake him; 450 
 Give him the ring; and bring him, if thou canst, 
 Unto Antonio's house: away! make haste. 
 
 [Exit Gratiano 
 Come, you and I will hither presently; 
 And in the morning early will we both 
 Fly toward Belmont: come, Antonio. [Exeunt 
 
 Scene II. Venice. A street 
 
 Enter Portia and Nerissa 
 
 Por. Inquire the Jew's house out, give him 
 this deed 
 
Scene II] THE MERCHANT OF VENICE 125 
 
 And let him sign it; we'll away to-night 
 And be a day before our husbands home. 
 This deed will be well welcome to Lorenzo. 
 
 Enter Gratiano 
 
 Gra. Fair sir, you are well o'erta'en: 
 My Lord Bassanio upon more advice 
 Hath sent you here this ring, and doth entreat 
 Your company at dinner. 
 
 Por. That cannot be: 
 
 His ring I do accept most thankfully: 
 And so, I pray you, tell him: furthermore, 10 
 
 I pray you, show my youth old Shylock's house. 
 
 Gra. That will I do. 
 
 Ner. Sir, I would speak with you. 
 
 [Aside to Portia] Til see if I can get my hus- 
 band's ring, 
 Which I did make him swear to keep forever. 
 
 Por. [Aside to Nerissa] Thou mayst, I warrant. 
 We shall have old swearing 
 That they did give the rings away to men; 
 But we'll outface them, and outswear them too. 
 [Aloud] Away! make haste; thou know' st where I 
 will tarry. 
 
 Ner. Come, good sir; will you show me to this 
 house? [Exeunt 
 
126 THE MERCHANT OF VENICE [Act v 
 
 ACT V 
 
 Scene I. Belmont. Avenue to Portia's house 
 Enter Lorenzo and Jessica 
 
 Lor. The moon shines bright: in such a night 
 as this, 
 When the sweet wind did gently kiss the trees, 
 And they did make no noise, in such a night 
 Troilus, methinks, mounted the Troyan walls, 
 And sigh'd his soul toward the Grecian tents, 
 Where Cressid lay that night. 
 
 Jes. In such a night 
 
 Did Thisbe fearfully o'ertrip the dew 
 And saw the lion's shadow ere himself, 
 And ran dismay' d away. 
 
 Lor. In such a night 
 
 Stood Dido with a willow in her hand 10 
 
 Upon the wild sea banks, and waft her love 
 To come again to Carthage. 
 
 Jes. In such a night 
 
 Medea gather'd the enchanted herbs 
 That did renew old iEson. 
 
 Lor. In such a night 
 
 Did Jessica steal from the wealthy Jew 
 And with an unthrift love did run from Venice 
 As far as Belmont, 
 
 Jes. In such a night 
 
 Did young Lorenzo swear he loved her well, 
 
Scene I] THE MERCHANT OF VENICE 127 
 
 Stealing her soul with many vows of faith, 
 And ne'er a true one. 
 
 Lor. In such a night 20 
 
 Did pretty Jessica, like a little shrew, 
 Slander her love, and he forgave it her. 
 
 Jes. I would out-night you, did no body come: 
 But, hark! I hear the footing of a man. 
 
 Enter Stephano 
 
 Lor. Who comes so fast in silence of the night? 
 
 Steph. A friend. 
 
 Lor. A friend ! what friend? your name, I pray 
 you, friend? 
 
 Steph. Stephano is my name ; and I bring word 
 My mistress will before the break of day 
 Be here at Belmont; she doth stray about 30 
 
 By holy crosses, where she kneels and prays 
 For happy wedlock hours. 
 
 Lor. Who comes with her? 
 
 Steph. None but a holy hermit and her maid. 
 I pray you, is my master yet return'd? 
 
 Lor. He is not, nor we have not heard from 
 him. 
 But go we in, I pray thee, Jessica, 
 And ceremoniously let us prepare 
 Some welcome for the mistress of the house. 
 
 Enter Launcelot 
 
 Laun. Sola, sola! wo, ha, ho! sola, sola! 
 
 Lor. Who calls? 40 
 
128 THE MERCHANT OF VENICE [Act V 
 
 Laun. Sola! Did you see master Lorenzo? 
 Master Lorenzo, sola, sola! 
 
 Lor. Leave hollaing, man; here. 
 
 Laun. Sola! Where? where? 
 
 Lor. Here. 
 
 Laun. Tell him there's a post come from my 
 master, with his horn full of good news; my master 
 will be here ere morning. [Exit 
 
 Lor. Sweet soul, let's in, and there expect their 
 coming. 
 And yet no matter : why should we go in? 50 
 
 My friend Stephano, signify, I pray you, 
 Within the house, your mistress is at hand : 
 And bring your music forth into the air. 
 
 [Exit Stephano 
 How sweet the moonlight sleeps upon this bank ! 
 Here will we sit and let the sounds of music 
 Creep in our ears; soft stillness and the night 
 Become the touches of sweet harmony. 
 Sit, Jessica. Look how the floor of heaven 
 Is thick inlaid with patines of bright gold: 
 There's not the smallest orb which thou behold'st go 
 But in his motion like an angel sings, 
 Still quiring to the young-eyed cherubins: 
 Such harmony is in immortal souls; 
 But whilst this muddy vesture of decay 
 Doth grossly close it in, we cannot hear it. 
 
 Enter Musicians 
 Come, ho! and wake Diana with a hymn; 
 
Scene I] THE MERCHANT OF VENICE 129 
 
 With sweetest touches pierce your mistress' ear 
 And draw her home with music. [Music 
 
 Jes. I am never merry when I hear sweet music. 
 
 Lor. The reason is ; your spirits are attentive: 70 
 For do but note a wild and wanton herd, 
 Or race of youthful and unhandled colts, 
 Fetching mad bounds, bellowing and neighing loud, 
 Which is the hot condition of their blood; 
 If they but hear perchance a trumpet sound, 
 Or any air of music touch their ears, 
 You shall perceive them make a mutual stand, 
 Their savage eyes turn'd to a modest gaze 
 By the sweet power of music: therefore the poet 
 Did feign that Orpheus drew trees, stones, and 
 
 floods; 80 
 
 Since nought so stockish, hard, and full of rage, 
 But music for the time doth change his nature. 
 The man that hath no music in himself, 
 Nor is not moved with concord of sweet sounds, 
 Is fit for treasons, stratagems, and spoils; 
 The motions of his spirit are dull as night 
 And his affections dark as Erebus: 
 Let no such man be trusted. Mark the music. 
 
 Enter Portia and Nerissa 
 
 For. That light we see is burning in my hall. 
 How far that little candle throws his beams! 90 
 
 So shines a good deed in a naughty world. 
 
 Ner. When the moon shone, we did not see the 
 candle. 
 
130 THE MERCHANT OF VENICE [Act V 
 
 Por. So doth the greater glory dim the less : 
 A substitute shines brightly as a king 
 Until a king be by; and then his state 
 Empties itself, as doth an inland brook 
 Into the main of waters. Music! hark! 
 
 Ner. It is your music, madam, of the house. 
 
 Por. Nothing is good. I see, without respect; 
 Methinks it sounds much sweeter than by day. 100 
 
 Ner. Silence bestows that virtue on it, madam. 
 
 Por. The crow doth sing as sweetly as the 
 lark, 
 When neither is attended; and I think 
 The nightingale, if she should sing by day, 
 When every goose is cackling, would be thought 
 No better a musician than the wren. 
 How many things by season season'd are 
 To their right praise and true perfection! 
 Peace, ho! the moon sleeps with Endymion 
 And would not be awaked. [Music ceases 
 
 Lor. That is the voice, no 
 
 Or am I much deceived, of Portia. 
 
 Por. He knows me, as the blind man knows the 
 cuckoo, 
 By the bad voice. 
 
 Lor. Dear lady, welcome home. 
 
 Por. We have been praying for our husbands* 
 welfare, 
 Which speed, we hope, the better for our words. 
 Are they return'd? 
 
 Lor. Madam, they are not yet; 
 
Scene I] THE MERCHANT OF VENICE 131 
 
 But there is come a messenger before, 
 To signify their coming. 
 
 Por. Go in, Nerissa; 
 
 Give order to my servants that they take 
 No note at all of our being absent hence; 120 
 
 Nor you, Lorenzo; Jessica, nor you. 
 
 [A tucket sounds 
 Lor. Your husband is at hand; I hear his 
 trumpet : 
 We are no tell-tales, madam; fear you not. 
 
 Por. This night methinks is but the daylight 
 sick; 
 It looks a little paler; 't is a day, 
 Such as the day is when the sun is hid. 
 
 Enter Bassanio, Antonio, Gratiano, and 
 their followers 
 
 Bass. We should hold day with the Antipodes, 
 If you would walk in absence of the sun. 
 
 Por. Let me give light, but let me not be light; 
 For a light wife doth make a heavy husband, 130 
 
 And never be Bassanio so for me; 
 But God sort all ! You are welcome home, my lord. 
 
 Bass. I thank you, madam. Give welcome to 
 my friend. 
 This is the man, this is Antonio, 
 To whom I am so infinitely bound. 
 
 Por. You should in all sense be much bound 
 to him, 
 For, as I hear, he was much bound for you, 
 
132 THE MERCHANT OF VENICE [Act V 
 
 Ant. No more than I am well acquitted of. 
 
 Por. Sir, you are very welcome to our house: 
 It must appear in other ways than words, 140 
 
 Therefore I scant this breathing courtesy. 
 
 Gra. [to Ner.] By yonder moon I swear 3-011 do 
 me wrong; 
 In faith, I gave it to the judge's clerk. 
 
 Por. A quarrel, ho, already! what's the matter? 
 
 Gra. About a hoop of gold, a paltry ring 
 That she did give me; whose posy was 
 For all the world like cutler's poetry 
 Upon a knife, "Love me, and leave me not." 
 
 Ner. What talk you of the posy or the value? 
 You swore to me, when I did give it you, 150 
 
 That you would wear it till your hour of death, 
 And that it should lie with you in your grave : 
 Though not for me, yet for your vehement oaths, 
 You should have been respective and have kept it. 
 Gave' it a judge's clerk! No, God's my judge, 
 The clerk will ne'er wear hair on 's face that had it. 
 
 Gra. He will, an if he live to be a man. 
 
 Ner. Ay, if a woman live to be a man. 
 
 Gra. Now, by this hand, I gave it to a youth, 
 A kind of boy, a little scrubbed boy, 160 
 
 No higher than thyself, the judge's clerk; 
 A prating boy, that begg'd it as a fee; 
 I could not for my heart deny it him. 
 
 Por. You were to blame, I must be plain with 
 you, 
 To part^o slightly with your wife's first gift; 
 
Scene I] THE MERCHANT OF VENICE 133 
 
 A thing stuck on with oaths upon your finger 
 
 And so riveted with faith unto your flesh. 
 
 I gave my love a ring and made him swear 
 
 Never to part with it; and here he stands; 
 
 I dare be sworn for him, he would not leave it 170 
 
 Nor pluck it from his finger, for the wealth 
 
 That the world masters. Now, in faith, Gratiano, 
 
 You give your wife too unkind a cause of grief; 
 
 An't were to me, I should be mad at it. 
 
 Bass. [Aside] Why, I were best to cut my left 
 hand off 
 And swear I lost the ring defending it. 
 
 Gra. My lord Bassanio gave his ring away 
 Unto the judge that begg'd it and indeed 
 Deserved it too; and then the boy, his clerk 
 That took some pains in writing, he begg'd mine: 180 
 And neither man nor master would take aught 
 But the two rings. 
 
 Por. What ring gave you, my lord? 
 
 Not that, I hope, which you received of me. 
 
 Bass. If I could add a lie unto a fault, 
 I would deny it; but you see my finger 
 Hath not the ring upon it ; it is gone. 
 
 Por. Even so void is your false heart of truth. 
 
 Bass. Sweet Portia, 
 
 If you did know to whom I gave the ring, 
 If you did know for whom I gave the ring, 190 
 
 And would conceive for what I gave the ring, 
 And how unwillingly I left the ring, 
 When naught would be accepted but the ring, 
 
134 THE MERCHANT OF VENICE [Act V 
 
 You would abate the strength of your displeasure. 
 
 Por. If you had known the virtue of the ring, 
 Or half her worthiness that gave the ring, 
 Or your own honour to contain the ring, 
 You would not then have parted with the ring. 
 What man is there so much unreasonable, 
 If you had pleased to have defended it 200 
 
 With any terms of zeal, wanted the modesty 
 To urge the thing held as a ceremony? 
 Nerissa teaches me what to believe; 
 I'll die for't but some woman had the ring. 
 
 Bass. No, by mine honour, madam, by my soul, 
 No woman had it, but a civil doctor, 
 Which did refuse three thousand ducats of me, 
 And begg'd the ring; the which I did deny him, 
 And suffer'd him to go displeased away; 
 Even he that did uphold the very life 210 
 
 Of my dear friend. What should I say, sweet lady? 
 I was enforced to send it after him; 
 I was beset with shame and courtesy; 
 My honour would not let ingratitude 
 So much besmear it. Pardon me, good lady; 
 For, by these blessed candles of the night, . 
 Had you been there, I think, you would have begg'd 
 The ring of me to give the worthy doctor. 
 
 Por. Let not that doctor e'er come near my house : 
 Since he hath got the jewel that I loved, 220 
 
 And that which you did swear to keep for me, 
 I will become as liberal as you: 
 I'll not deny him any thing I have. 
 
Scene I] THE MERCHANT OF VENICE 135 
 
 Ant. I am the unhappy subject of these quarrels. 
 
 Pot. Sir, grieve not you; you are welcome not- 
 withstanding. 
 
 Bass. Portia, forgive me this enforced wrong; 
 And, in the hearing of these many friends, 
 I swear to thee, even by thy own fair eyes, 
 Wherein I see myself, — 
 
 Por. Mark you but that! 
 
 In both my eyes he doubly sees himself: 230 
 
 In each eye, one: swear by your double self, 
 And there's an oath of credit. 
 
 Bass. Nay, but hear me. 
 
 Pardon this fault, and by my soul I swear 
 I never more will break an oath with thee. 
 
 Ant., I once did lend my body for his wealth; 
 Which, but for him that had your husband's ring, 
 Had quite miscarried : I dare be bound again, 
 My soul upon the forfeit, that your lord 
 Will never more break faith advisedly. 
 
 Por. Then you shall be his surety. Give him 
 this; 240 
 
 And bid him keep it better than the other. 
 
 Ant. Here, lord Bassanio ; swear to keep this ring. 
 
 Bass. By heaven, it is the same I gave the 
 doctor! 
 
 Por. You are all amazed: 
 Here is a letter; read it at your leisure; 
 It comes from Padua, from Bellario: 
 There you shall find that Portia was the doctor; 
 Nerissa there her clerk: Lorenzo here 
 
136 THE MERCHANT OF VENICE [Act V 
 
 Shall witness I set forth as soon as you 
 
 And even but now return'd; I have not yet 250 
 
 Enter'd my house.— Antonio, you are welcome. 
 
 And I have better news in store for you 
 
 Than you expect : unseal this letter soon ; 
 
 There you shall find three of your argosies 
 
 Are richly come to harbour suddenly: 
 
 You shall not know by what strange accident 
 
 I chanced on this letter. 
 
 Ant. I am dumb. 
 
 Bass. Were you the doctor, and I knew you not? 
 
 Ant. Sweet lady, you have given me life and 
 living; 
 For here I read for certain that my ships 260 
 
 Are safely come to road. 
 
 Por. How now, Lorenzo! 
 
 My clerk hath some good comforts too for you. 
 
 Ner. Ay, and I'll give them him without a fee.— 
 There do I give to you and Jessica, 
 From the rich Jew, a special deed of gift, 
 After his death, of all he dies possessed of. 
 
 Lor. Fair ladies, you drop manna in the way 
 Of starved people. 
 
 Por. It is almost morning, 
 
 And yet I am sure you are not satisfied 
 Of these events at full. Let us go in; 270 
 
 And charge us there upon inter'gatories, 
 And we will answer all things faithfully. 
 
 Gra. Well, while I live I'll fear no other thing 
 So sore as keeping safe Nerissa's ring. [Exeunt 
 
NOTES 
 
 Authorities Quoted: 
 Furness, The Variorum Shakespeare; Johnson, Edition of 
 Shakespeare; Staunton, Edition of Shakespeare; Steevens, 
 Edition of Shakespeare; Knight, Edition of Shakespeare; 
 Coryat, Crudities; Bailey, The Received Text; Halivvell, 
 Folio Edition; Hunter, New Illustrations; Lord Campbell 
 Shakespeare's Legal Acquirements; Mrs. Jameson, Character- 
 istics of Women. 
 
 ACT I 
 
 Scene I 
 
 The Scene. Furness, in The Variorum Shakespeare, says: 
 "In Charles Kean's fine revival of the play at the Princess's 
 Theatre in 1858, the curtain draws upon a scene laid in Saint 
 Mark's Place, with various groups of Nobles, Citizens, Mer- 
 chants, Foreigners, Water-Carriers, Flower-Girls, etc., passing 
 and repassing, while a Procession of the Doge in state crosses' 
 the Square." 
 
 1. Sooth. Truth. The expression in sooth is so used else- 
 where, as in Love's Labour Lost (V. 2. 586). 
 
 5. I am to learn. I have to learn, since I do not know. 
 
 8. Ocean. Pronounce in three syllables. 
 
 9. Argosies. Huge merchant vessels. Recall the story of 
 Jason and his ship Afgo. Murray, however, thinks the word 
 argosies is derived from the Italian word ragusea, meaning 
 vessel. 
 
 11. Pageants. In early England, the Mystery Plays were 
 called pageants. The same name was applied to the movable 
 stage that was wheeled about from town to town. Shakespeare 
 may have intended to picture the ships as resembling these 
 theatrical platforms. Cf. Midsummer Night's Dream (III. 
 2. 114): "Shall we their fond pageants see?" Love's Labour 
 Lost (V. 1. 118): "Or show, or pageant, or antique, or fire- 
 work." 
 
 12. Traffickers. Traders. 
 15. Forth. Abroad. 
 
 17. Still. Constantly. Cf. Hamlet (II. 2. 42) : "Thou still 
 hast been the father of good news." 
 
 137 
 
138 THE MERCHANT OF VENICE 
 
 1 19. Roads. Places where ships may ride at anchor at some 
 distance from the shore. Cf. V. 26: "are safely come to road." 
 
 27. Andrew. A valuable trading ship, probably so named 
 from the Genoese admiral, Andrea Doria. 
 
 28. Vailing. Lowering. Cf . Venus and Adonis (956) : "She 
 vailed her eyelids." 
 
 36. Thought. Anxiety. Compare the Biblical use of the 
 word, in Matt. vi. 34: "Take no thought (i.e., anxious thought) 
 for the morrow." 
 
 42. Bottom. Ship. Cf. Twelfth Night (V. 60): "The most 
 noble bottom of our fleet." 
 
 50. Janus. The god from whom was derived the name of 
 the first month. He was represented as two-headed, one head 
 facing forward and the other backward. Explain the appropri- 
 ateness of the name January. 
 
 52. Peep through their eyes. Peep, because their faces are 
 wrinkled in laughter so that the eyes are not wide open. 
 
 54. Other. This is frequently used by Shakespeare in a 
 plural sense. Cf. Macbeth (I. 3. 14): "I myself have all the 
 other." 
 
 56. Nestor. One of the Greek heroes in the Trojan War; 
 noted for his age and wisdom. 
 
 61. Prevented. Anticipated. Cf. Ps. cxix. 148: "Mine eyes 
 prevent the night-watches." 
 
 67. Exceeding strange. Exceedingly distant, reserved. Cf. 
 The Comedy of Errors (II. 2. 112): "Look strange and frown." 
 Shakespeare uses exceeding as an adverb. 
 
 74. Respect upon. Serious regard for. Cf. II. 2. 192. 
 
 79. Play the fool. Act the part of fool in the play. In the 
 early-time plays, this was the popular part. Name the jesters 
 in some other of Shakespeare's plays. 
 
 81. Liver. See Introduction, p. 21, 
 
 82. My heart cool. See Introduction, p. 21. 
 85. Jaundice. See Introduction, p. 22. 
 
 89. Cream and mantle. Gather a cover (as scum) on the 
 surface. 
 
 90. Entertain. Maintain. Cf. Measure for Measure (III. 
 1. 75): "I quake lest thou a feverish life should entertain." 
 Shakespeare follows the practice of the writers of his time when 
 he omits who before the verb do. 
 
 91. Opinion. Reputation. Cf. line 102. 
 
 92. Conceit. Thought, understanding. In this play the 
 word has three shades of meaning : (1) Conception, idea. "You 
 have a noble and true conceit of god-like amity." III. 4. 2. 
 (2) Fanciful thought or device. "Let it be as humours and con- 
 
NOTES: ACT I. SCENE I 139 
 
 ceits shall govern." III. 5. 45. (3) Mental faculty, comprising 
 the understanding as well as the imagination (as here used). 
 
 93. Sir Oracle. In ancient Greece the oracle was regarded 
 as a sacred form of prophecy, whose word was not to be disputed. 
 Look up the subject in an encyclopedia or an ancient history book. 
 
 98-99. In the Bible (Matt. v. 22) is the warning of severe pun- 
 ishment to be visited upon one who calls his brother "fool". 
 This passage evidently alludes to it. 
 
 102. Fool gudgeon. A stupid fish. Izaak Walton speaks 
 of the gudgeon as a fish that is easily caught with any bait. 
 Compare the use of "fool" as an adjective in II. 9. 25. 
 
 108. Moe. More. 
 
 110. Gear. Stuff. Cf. II. 2. 168. 
 
 116. Shall. Skakespeare often uses shall in all three per- 
 sons of the future tense. 
 
 124. Something. Here used adverbially, meaning somewhat. 
 Swelling port. Pretentious bearing. 
 
 125. Grant continuance. Shakespeare omits of after this 
 expression. 
 
 126. Make moan to be abridged. Complain of being cut off 
 from. 
 
 130. Gaged. Engaged, or pledged. 
 
 136. Still. Constantly. Cf. line 17. 
 
 137. Eye. Range, sight. 
 
 141. His. Its. In the time of Shakespeare used as the pos- 
 sessive of it. 
 
 Flight. The range of the arrow. 
 
 142. Advised. Careful, deliberate. Cf. Richard III. (II. 
 1. 107): "Bade me be advised." 
 
 143. Forth. Out. Cf. Comedy of Errors (I. 2. 37): "To 
 find his fellow forth." 
 
 144. Childhood proof. Proof tested by experiment in one's 
 childhood. 
 
 148. Self. Same. Cf. Twelfth Night (I. 1. 39): "Fill'd her 
 sweet perfections with one self king." 
 
 150. Or — or. In English to-day we should use either — or. 
 
 To find. Shakespeare uses the infinitive where to day 
 we would use a subordinate clause. Here it might be expressed: 
 that I shall find. 
 
 154. Circumstance. Circumlocution, or a roundabout way 
 of expressing oneself. Cf. Second part of Henry VI. (I. 1. 105) : 
 "What means this passionate discourse; this peroration with 
 such circumstance? " 
 
 156. Making question of my uttermost. Doubting that I 
 will use all within my means to aid you. 
 
140 THE MERCHANT OF VENICE 
 
 160. Prest. Ready. 
 
 161. Richly left. Who has been left a rich inheritance. 
 163. Sometimes. Sometime. Shakespeare uses both words 
 
 in the same sense, relating to some time in the past. Cf. Rich- 
 ard II (I. 2. 54): "Thy sometimes brother's wife." 
 
 165. Nothing undervalued. In no way inferior. 
 
 166. Cato's daughter, Brutus' Portia. In the play Julius 
 Caesar we find this Portia. She is represented as a woman of 
 tender affection, yet she displayed great restraint and Stoic 
 dignity as did her husband. 
 
 170-172. A golden fleece . . . Colchos' strand . . . Jasons. 
 In mythology we read of Jason's organizing the Argonautic 
 expedition to go in search of the Golden Fleece. This was hang- 
 ing on a tree in Colchis (not Colchos, as here), which was on the 
 Black Sea. With the aid of the witch Medea, Jason succeeded 
 in his quest. 
 
 175. Presages. Supply the pronoun which before this 
 word. See the note on line 90. Where should the accent come 
 in the word presages? 
 
 Thrift. Success. 
 
 178. Commodity. Property. Also used in this play (III. 
 3. 27) to mean convenience. 
 
 181. Racked. Stretched. Cf. the noun in use III. 2. 25. 
 
 183. Presently. Immediately. It is so used in five other 
 instances in this play. The modern meaning, shortly, is found 
 in I. 3. 171 and in II. 6. 65. 
 
 184. Question. Doubt, Cf. line 156. 
 
 185. Trust. Credit. The line means that the money is 
 to be obtained either on Antonio's credit as a business man or 
 on the basis of personal friendship. 
 
 Scene II 
 
 The Scene. Mrs. Jameson, in Characteristics of Women 
 (p. -72), says: "We are not told expressly where Belmont is 
 situated; but as Bassanio takes ship to go thither from Venice, 
 and as we find Portia afterwards ordering horses from Belmont 
 to Padua, we will imagine Portia's hereditary palace as standing 
 on some lovely promontory between Venice and Trieste, over- 
 looking the blue Adriatic, with the Friuli Mountains or the 
 Euganian hills for its background." 
 
 1. Troth. Truth. The word is a variant of the word truth, 
 and in this passage it is not used as an antonym of falsehood but 
 as meaning faithfulness. 
 
 7-8. Notice the play on words in the double use of the word 
 
NOTES: ACT I. SCENE II 141 
 
 mean. As an adjective, in the expression mean happiness, the 
 word means insignificant, trivial; in the phrase in the mean it 
 means middle. 
 
 13. Chapels, churches. A chapel is a small church or a 
 small building attached to a church. It originated in the word 
 capella, meaning cap, the story being that St. Martin's hat used 
 to be carried into war by the French kings as a sacred relic, or 
 capella, and kept in a tent. The tent as a sacred place came to 
 be called a capella. From the word chapel comes what name for a 
 priest in charge of such a place? 
 
 18. Brain, blood. To Shakespeare the brain stands for the 
 reasoning faculties and the blood for the emotions or passions. 
 
 24. Will. Explain the play on words. 
 
 26. Nor refuse none. Notice the double negative, a gram- 
 matical error today, but frequently found in Shakespeare. 
 
 32. One who shall rightly love. Supply by before the word 
 one. 
 
 37. Level at. Guess. Cf. Antony and Cleopatra (V. 2. 
 339): "She leveled at our purposes." 
 
 40. Makes it a great appropriation. Takes it to his own 
 credit to the exclusion of others. 
 
 43. County Palatine. Count Palatine. This title was 
 originally applied to those in imperial service in the court of 
 the Roman empire. Later it was the title of the highest judi- 
 cial officer under the German kings. After the Norman Con- 
 quest it was applied to the English county rulers of Durham, 
 Chester, and Lancaster. They stood at the head of the feudal 
 system of land tenure in their counties. Johnson says: "The 
 Count here mentioned was, perhaps, Albertus a Lasco, a Pol- 
 ish Palatine, who visited England in our author's time, was 
 eagerly caressed and splendidly entertained; but running in debt, 
 at last stole away, and endeavored to repair his fortune by en- 
 chantment." 
 
 45. An you will not have me, choose. Perhaps this means: 
 "If you will not have me, suit yourself." 
 
 47. The weeping philosopher. Heraclitus, the Greek, was 
 the "weeping philosopher"; Democritus was the "laughing 
 philosopher". 
 
 48. Had rather. Observe that Shakespeare uses this ex- 
 pression, which has excellent support in modern times, although 
 many defend the use of would rather. 
 
 52. By. Concerning. 
 
 59. Throstle. Song thrush. 
 
 A-capering. A is the shortened form of the old prepo- 
 sition an, or of the modern preposition on. 
 
142 THE MERCHANT OF VENICE 
 
 68. Come into court, i.e. to witness for me. 
 
 70. Proper. Handsome. But in III. 2. 46 it means suitable. 
 
 72. Suited. Dressed. But it has the modern meaning of 
 adapted in III. 5. 47: "How his words are suited." 
 
 Doublet. A close-fitting coat or jacket. So called from 
 the fact that it was heavily lined. 
 
 73. Round hose. Coverings for the trunk and legs. 
 Bonnet. A man's cap. We are familiar with its use in Scot- 
 land. 
 
 80. The Frenchman became his surety. The Scotch and 
 French had for many years been under an alliance. 
 
 81 . Sealed under for another. Put his signature and seal 
 below that of the Scotchman. This was his guarantee that he 
 would "become his surety". 
 
 88. An the worst fall. If the worst befall. 
 94. Contrary. Adverse, unfavorable. 
 
 103. Some other sort. Some other way. 
 
 104. Imposition. Injunction, order. Cf. use in III. 4. 33. 
 
 105. Sibylla. In Ovid's story, the sibyl of Cumae was prom- 
 ised by Apollo that she should live as many years as she held 
 grains of sand in her hand. 
 
 107. This parcel of wooers are. Notice what we to-day 
 would call a grammatical error in using here a plural verb. 
 Parcel means company. Cf. Love's Labour Lost (V. 2. 160): "A 
 holy parcel of the fairest dames." 
 
 123. The four strangers. Reference has been made in the 
 text to six rather than four. The error has not been satisfactorily 
 explained, although it has been suggested that later additions 
 were made to the original manuscript. 
 
 126. To-night. The next night. Also used with this mean- 
 ing in II. 2. 173 and in five other places. But in II. 5. 18 it 
 means last night. 
 
 129. Condition. Disposition. Cf. Othello (IV. 1. 210): "Of so 
 gentle a condition." 
 
 131. Shrive. Minister confession and absolution to. 
 
 133. Whiles. An old adverbial form. 
 
 Scene III 
 
 1 . Ducat. A Venetian coin, said by Coryat, who traveled 
 in Italy in 1608, to be worth 4 s. 8 d. This would correspond 
 roughly to our dollar. In origin, it means a piece of money 
 coined by a duke. 
 
 7. May you stead me? Can you assist me? Notice the 
 use of may for can. In early days, may signified ability, and can 
 was used to mean to be skilled. 
 
NOTES: ACT I. SCENE III 143 
 
 Pleasure. Here used as what part of speech? 
 12. Good, i.e., of good financial standing. Bassanio's reply 
 would indicate that he misunderstood Shylock and thought 
 he referred to Antonio's character. Consider our use of the 
 word goods. 
 
 17. In supposition. In a doubtful state. This was because 
 they were subject to the perils of the sea, where all his ships 
 now were. 
 
 18. Tripolis. A Syrian seaport, not the city in northern 
 Africa. 
 
 19. The Indies. The West Indies. 
 
 20. The Rialto. The Exchange in Venice. Formerly the 
 name was applied to the largest island in Venice, on the Grand 
 Canal. Then it came to be the name of the commercial Ex- 
 change, located on the island. Cory at thus describes it: "The 
 Rialto, which is at the farthest side of the bridge as you come 
 from St. Mark's, is a most stately building, being the Exchange 
 of Venice, where the Venetian gentlemen and the merchants 
 do meet twice a day, betwixt eleven and twelve of the clock 
 in the morning, and betwixt five and six of the clock in the 
 afternoon. This Rialto is of a goodly height, built all of brick 
 as the palaces are." The famous Rialto bridge was not built 
 until 1591, and that of today is of more recent origin. 
 
 21 . Squandered. Scattered. 
 
 34. Nazarite. Here used for Nazarene, i. e. an inhabitant 
 of Nazareth. 
 
 40. Fawning publican. The publicans, under the Roman 
 government, were tax collectors in Syria and the Roman prov- 
 inces. Shylock well knew that the term fawning applied illy 
 to Antonio. But he used it in a contemptuous sense, borrow- 
 ing the idea from ancient times, when the publicans were espe- 
 cially disliked by the Jews. 
 
 41 . For. Because. 
 
 44. Usance. Interest. In Shakespeare's time usance, usury, 
 and interest meant the same thing. The charging of interest 
 was regarded as disreputable. See Introduction, p. 22. 
 
 45. Upon the hip. A term used in wrestling. 
 50. Interest. See note on usance, line 44. 
 52. Of. Used by Shakespeare to mean about. 
 
 56. Tubal. Cf. Gen. x. 2., where Tubal is named as a son 
 of Japheth. 
 
 58. Rest you fair. Probably means God give you fair for- 
 tune. Cf. As You Like It (V. 1. 65): "God rest-you merry! " 
 
 61. Excess. Interest; whatever is beyond the principal 
 loaned. 
 
144 THE MERCHANT OF VENICE 
 
 62. Ripe wants. Matured wants; ripe in the sense that fruit 
 is ripe, in not admitting of delay in picking. 
 
 63. Possess'd. Informed. Cf. IV. 1. 35: "I have possess'd 
 your grace of what I purpose." 
 
 77. Were compromised. Had agreed. 
 
 78. Eanlings. Lambs just born. 
 
 Pied. Spotted. Cf. Milton's U Allegro, line 75: "Meadows 
 trim, with daisies pied." 
 
 79. Fall. Bring forth. Here used as a transitive verb. 
 
 80. Pilled. Peeled. The story of Jacob is in Gen. xxx. 
 Shylock resorts to Scripture as his defense, but misses his point, 
 for Jacob's trick upon the unsuspecting Laban had nothing to 
 do with their mutual agreement as to profits, and therefore is 
 not to be compared with the charging of interest, or usance, which 
 is the matter under debate. Antonio appreciates this in his 
 reply, and in his later remark: "The devil can cite Scripture for 
 his purpose." (line 93). 
 
 93. The devil can cite Scripture. Cf. Matt. iv. 6, where 
 the devil is represented as quoting from one of the Psalms. 
 (Ps. xci. 11, 12.) 
 
 94. Producing holy witness. Quoting sacred authority. 
 96. What a goodly outside falsehood hath. Dr. Johnson 
 
 considered falsehood as here used to mean dishonesty. This 
 applies better to the situation. Does it not make the aphor- 
 ism more true to life? 
 
 100. Beholding Beholden. 
 
 107. Gaberdine. Along, coarse frock. It is not to be under- 
 stood that it is here referred to as a distinctively Jewish garment, 
 for in those days no distinction existed between the dress of the 
 Jewish and Christian merchants, except that the Jews wore a 
 yellow bonnet. Cf. the use in The Tempest (II. 2. 40) where 
 Trinculo crawls under Caliban's gaberdine. 
 
 124. Moneys. Perhaps the plural is here used because Shy- 
 lock is quoting the word as used by Antonio. 
 
 129. Breed. Money bred from the principal, i.e. interest. 
 
 131. Who, if he break. There is no verb following the subject 
 who. Who and he may be regarded as one subject, separated 
 by a clause. 
 
 133. I would be friends with you. This is an idiomatic ex- 
 pression that is in good use even to-day. Is it grammatically 
 correct? 
 
 135. Doit. A small Dutch coin of exceedingly small value, 
 which accounts for its use here. 
 
 140. Single bond. A bond that has only the maker's signa- 
 ture, there being no other guarantors. 
 
NOTES: ACT L SCENE III 145 
 
 144. Nominated for. Named as. 
 
 Equal. Exact, of the same weight. 
 
 150. Dwell. Remain. Cf. All's Well That Ends Well 
 (IV. 3. 13): "Let it dwell darkly with you." 
 
 156. Teaches. An example of the Northern Early English 
 plural, ending in es. 
 
 158. Break his day. Break his engagement. 
 
 162. Mutton, beefs. These are the Norman-French words, 
 and they are here used with their original meanings, for sheep 
 and oxen. 
 
 165. For my love. For my love's sake. 
 
 170. Fearful. Fear-inspiring. Cf . King John (IV. 2. 106) : 
 "A fearful eye thou hast." 
 
 171. Knave. Sometimes this was used to mean a boy; 
 it also was used to mean a rogue. Cf. use in II. 3. 12: "to play 
 the knave." 
 
 ACT II 
 
 Scene I 
 
 Enter the Prince of Morocco. The First Folio stage direc- 
 tions add: "A tawny Moor all in white." This has been used 
 by some, in studying Othello, to prove that Othello, although a 
 Moor, was white. 
 
 1. Complexion. Pronounce here in four syllables. 
 
 7. Whose blood is reddest. Dr. Johnson points out that 
 red blood was considered to be a sign of courage. Later, Bas- 
 sanio speaks of cowards as having "livers white as milk." (III. 
 2. 86.) See Introduction, p. 21. Notice the use of the superla- 
 tive degree of red, in comparing two objects. This was good 
 usage in Shakespeare's time. 
 
 8. Aspect. Accented on the second syllable. 
 
 9. Fear'd. Caused to fear. Here used as a transitive verb. 
 12. Thoughts. Affections. Cf. Twelfth Night (II. 4. 115): 
 
 "She pined in thoughts." 
 
 14. Nice. Precise. The word is to-day used in many senses; 
 its correct use is here shown. We should speak of a nice dis- 
 tinction, but not of a nice apple. 
 
 17. Scanted. Restricted. 
 
 18. Wit. Wisdom. Some commentators give it here the 
 meaning of will. 
 
 19. His . . . who. The relative pronoun goes back to the 
 possessive his as its antecedent. 
 
 20. Stood. Would have stood. 
 
146 THE MERCHANT OF VENICE 
 
 25. The Sophy. The Shah of Persia. Cf. Twelfth Night 
 (III. 4. 307): "fencer to the Sophy". 
 
 26. Sultan Solyman. A probable reference to the campaign 
 undertaken by Solyman (Solomon) the Magnificent against the 
 Persians, in 1535. 
 
 32. Hercules and Lichas. Lichas was the servant of Her- 
 cules who innocently brought to his master the poisoned shirt 
 which had been dipped in the blood of the Centaur Nessus. The 
 poor servant met with the unjust punishment of being thrown 
 headlong into the sea. The story is from Ovid (Met. ix. 155). 
 
 35. Alcides. Hercules. This name came through the des- 
 cent of Hercules from Alcaeus, the son of Perseus. 
 
 42. Advised. Cautious. Cf. I. 1. 142. 
 
 43. Nor will not. Another example of Shakespeare's use 
 of the double negative. 
 
 44. The temple. They are to go to the temple, or church, 
 where the oath referred to in Portia's previous speech is to be 
 administered. 
 
 46. Blest or cursed'st. Most blessed or most cursed. The 
 superlative ending of one adjective serves for both adjectives. 
 Cf. III. 2. 289: "The best condition'd and unwearied spirit." 
 
 Scene II 
 
 Enter Launcelot. The First Folio reads: "Enter the Clown 
 alone". This would suggest that Launcelot is the jester of the 
 play, and so he is, although in a somewhat different sense than 
 Shakespeare usually characterizes such a person. Here we 
 have not a court jester but a rustic servant who is serving an 
 urban master. Yet he is the fun-maker of the play and his oddi- 
 ties in speech and manners do much to lighten the mood of the 
 play. 
 
 10 Pack. Begone, or, prepare to go as in The Comedy of 
 Errors (III. 2. 158): "'Tis time, I think, to trudge, pack, and 
 be gone." 
 
 11. Via. Away, be off. An Italian word. Cf. the Latin 
 via. 
 
 24. God bless the mark. An expression difficult to explain. 
 Prof. Child suggested that the mark may have been derived 
 from the mark set upon idolatrers, as shown in Ezekiel ix. 6. 
 (See Furness, Variorum Edition, p. 64.) The expression seems 
 to be spoken as an apology for having used profanity; possibly 
 the speaker points to the mark or crosses himself. 
 
 28. Incarnal. Incarnate. Launcelot might, in modern 
 language, be said to use many "malapropisms", a word derived 
 
NOTES: ACT II. SCENE II 147 
 
 from the name Mrs. Malaprop, a character in Sheridan's play 
 The Rivals, and referring to the use of words that are out of 
 place where they are employed. 
 
 36. Sand-blind. Purblind, half-blind. 
 
 37. Confusions. Launcelot misuses this for conclusions. 
 
 43. Marry. For Mary. Originally the expression was by 
 Mary, i.e. the Virgin Mary; but in Shakespeare's time it had 
 been contracted to marry. 
 
 44. Indirectly. Launcelot means directly. 
 
 45. By God's sonties. Probably means by God's saints. 
 54. A'. Uneducated people of the times used this for he. 
 57. Ergo. This is the Latin for therefore. In some way 
 
 Launcelot has acquired these learned phrases. It has been 
 suggested that before entering Shylock 's service he must have 
 been the servant of some Venetian scholar, or perhaps he may 
 have been a choir-boy. 
 
 61. Father. Launcelot uses the word several times, but it 
 does not serve to disclose his identity to old Gobbo, for the 
 word was commonly used in addressing any old man. 
 
 63. The Sisters Three. The three Fates. 
 
 69. Hovel-post. One of the posts used in the frame-work 
 of a hovel. The posts all came up to a point, and they were 
 covered with sods. 
 
 82. Launcelot has been kneeling, awaiting his father's bless- 
 ing. The traditional stage directions here require that he turn 
 his back to his father, who mistakes his long black hair for a 
 beard (line 95). 
 
 96. Fill-horse. Thill-horse, i.e. the horse in the thills or 
 shafts. 
 
 104. Set up my rest. Am determined. The term was used 
 in playing a game. When the highest "stake" was settled, or 
 determined, it was called the rest. 
 
 111. Run as fast as God has any ground. This, according 
 to Knight, was a characteristic Venetian speech, for there being 
 so little land in Venice, the peasants longed to get away from 
 their limitations and be able to walk indefinitely on ground. 
 
 121. Giammercy. From the French grand merci, "great 
 thanks." 
 
 125. ; Infection. Gobbo uses this for affection or desire. 
 
 131. Cater-cousins. A doubtful term, but evidently signi- 
 fying distant relationship. Scarce cater-cousins means not agree- 
 ing well. 
 
 134. Frutify. Launcelot uses this for certify. 
 
 138/ Impertinent. He means to use -pertinent, 
 
 144. Defect. Gobbo uses this for effect. 
 
148 THE MERCHANT OF VENICE 
 
 147. Preferred. Recommended for preferment or pro- 
 motion. 
 
 157. More guarded. More ornamented, with more guard- 
 ings or trimmings. Cf. Henry VIII. (Prologue): "A long mot- 
 ley coat guarded with yellow." 
 
 160. Table. The table line or line of fortune is a term in 
 palmistry. It is the line that goes from the fore-finger to the 
 side of the hand. The table, then, might be regarded as the palm 
 of the hand. The sentence is confusing; the clause which doth 
 offer to swear upon a book probably modifies man and not tabic. 
 
 162. Line of life. The line extending across the hand. 
 
 Here's a small trifle of wives. In early palmistry the 
 lines extending from the ball of the thumb toward the line of 
 life signified the number of wives. 
 
 168. Gear. Stuff. Cf. I. 1. 110. 
 
 172. Bestow'd. Put away. Used similarly in The Comedy 
 of Errors (I. 2. 78). 
 
 186. Liberal. Reckless, wanton. Cf. Othello (II. 1. 165): 
 "A most profane and liberal counsellor." 
 
 Take pain. Shakespeare uses both the singular and the 
 plural of pain, when employing this expression. 
 
 187. Modesty. Moderation. 
 
 188. Skipping. Playful. Cf. Love's' Labour Lost (V. 2. 771): 
 "Wanton as a child, skipping and vain." 
 
 191. Habit. Behaviour. Cf. Hamlet (III. 4. 135): "My 
 father, in his habit as he lived." 
 
 194. Hood mine eyes. Staunton says: "The practice of 
 wearing the hat at meals was probably derived from the age 
 of chivalry. In the present day, at the installation banquet of 
 the Knights of the Garter, all the Knights Companions wear 
 their hats and plumes. It appears to have been usual formerly 
 for all persons above the rank of attendants to keep on their 
 hats at the dinner-table." 
 
 Scene III 
 
 10. Exhibit. Launcelot probably meant to use inhibit, 
 meaning stop. Furness agrees with Eccles in thinking that it, 
 means: "My tears express what my tongue should, if sorrow 
 would permit it." 
 
 Scene IV 
 
 2. Disguise us. For information regarding these masques 
 read Introduction, p. 23. 
 
NOTES: ACT II. SCENE IV 149 
 
 5. Spoke us yet of. One interpretation reads: "Spoke as 
 yet of"; another: "Bespoke us yet of". Perhaps the former is 
 to be preferred. 
 
 Torch-bearers. These were needed because the streets 
 were poorly lighted and dangerous. See Introduction, p. 24. 
 
 6. Quaintly ordered. Tastefully contrived. 
 
 10. Break up. Break open. 
 
 23. Provided of. Provided with. At times, Shakespeare 
 uses this expression to mean provided by. 
 
 29. Needs. Necessarily. 
 
 37. Faithless. Without faith, unbelieving. 
 
 Scene V 
 
 3. What. This interjection was often used to express im- 
 patience. 
 
 11. Bid forth. Invited out. 
 
 17. Towards my rest. That will affect my peace of mind. 
 
 18. To-night. Last night. But in seven other instances in 
 this play, it means the next night. See note on I. 2. 126. 
 
 20. Reproach. Launcelot means approach. 
 
 25. Black-Monday. Easter Monday. Stowe says: "In 
 the 34 Edw. Ill (1360) the 14 of April, and the morrow after 
 Easter-Day, King Edward with his host lay before the city of 
 Paris; which day was full dark of mist and hail, and so bitter 
 cold, that men died on their horses' backs with the cold. Where- 
 fore unto this day it hath been called the Black-Monday." 
 
 30. The wry-neck' d fife. The expression is susceptible of 
 two interpretations. Some commentators maintain that "fife" 
 means a player on the fife, and consequently "wry-necked" 
 refers to the musician's always looking away from his instru- 
 ment. Others claim that since the old-time fifers had bent- 
 mouth-pieces in their instruments, the expression "wry-necked" 
 applies to the fife. The elder Booth, in acting the part, illus- 
 trated the expression by turning his head in the way it is held 
 when one is playing a fife. 
 
 33. Varnish'd. Painted. Cf. II. 9. 48. 
 
 36. Jacob's staff. In Gen. xxxii. 10 we read: "With my 
 staff I passed over this Jordan." 
 
 37. Of feasting forth. For feasting out. 
 
 42. A Jewess' eye. A Jew's eye. There was an old prov- 
 erb: "It's worth a Jew's 'eye." It refers to the cruel perse- 
 cution of the Jewish people, when large sums of money were 
 demanded of them, the failure to yield which resulted in the mutil- 
 ating of the eyes or ears. See Introduction, p. 19. 
 
150 THE MERCHANT OF VENICE 
 
 43. Hagar's offspring. A Gentile and a son "of a bond- 
 woman." 
 
 45. Patch. The professional jester was so called probably 
 from his patched or parti-colored dress. From its use to mean 
 "fool" you may explain our expression "cross patch." 
 
 Scene VI 
 
 1. Pent-house. Shed. 
 
 5. Venus' pigeons. The doves by which Venus 's chariot was 
 supposed to be drawn. 
 
 7. Obliged. Pledged. The word is here sounded as having 
 three syllables. 
 
 9. Sits down. Add the preposition with. 
 10. Untread again. Retrace. 
 
 14. Younker. A stripling. Cf. Burns' Cotter's Saturday 
 Night, line 47: "The younkers a' are warned to obey." 
 
 15. Scarfed. Decked with flags and streamers. 
 18. Over-weathered. Weather-beaten. 
 
 35. Exchange, i.e. of dress.', 
 
 42. Too-too light. Notice the repetition of too, the purpose be- 
 ing for emphasis. Cf . Ill 2.16. In Words and Their Ways in Eng- 
 lish Speech, by Greenough and Kittredge, (p. 173), speaking of the 
 development of words, the authors say: "Sometimes a stem was 
 formed by merely repeating the root, as the Italian uses piano 
 piano, the French beau beau, or a child goody goody, to express a 
 high degree of the idea intended." 
 
 43. Office of discovery, i.e., the office, or duty of a torch- 
 bearer is to discover, or disclose what is ahead. 
 
 47. Close. Secret. Cf. Hamlet (II. 1. 118): "This must be 
 known; which being kept close." 
 
 51. By my hood. Perhaps Gratiano swears by the hood or 
 masque he is wearing. Some commentators say it means: 
 "by my self". Cf. hood in manhood. 
 
 Gentile. In the early Folio, the word gentle was used. 
 Shakespeare evidently intended a play on words. 
 
 67. Glad on't. Glad of it. In Shakespeare's plays there is 
 frequent use of on for of. 
 
 Scene VII 
 
 4. Of gold who. Of gold which. Shakespeare did not 
 follow our modern grammatical distinctions in the use of the 
 relative pronouns. 
 
NOTES: ACT II. SCENE VII 151 
 
 30. Disabling. Undervaluing. Cf. As You Like It (V. 
 4. 80): "He disabled my judgment." 
 
 41. Hyrcanian. Hyrcania was a country south of the 
 Caspian Sea. 
 
 Vasty. Waste, desolate. Cf. First Part of Henry IV. 
 (III. 1. 52): "I can call spirits from the vasty deep." 
 
 42. Throughfares. Thoroughfares. 
 
 49. Like. Likely. 
 
 50. Too gross. Too coarse a material. 
 
 51. Rib. Inclose. 
 
 Cerecloth. Cloth covered with wax; used in embalming. 
 Obscure. Accent the first syllable. 
 
 57. Insculp'd upon. i.e. engraved on the surface of the 
 coin. It was worth about ten shillings. The name angel came 
 from the representation upon it of St. Michael killing the dragon. 
 This word angel corresponded to the Dutch, En gel, whence the 
 word English. You will recall the story of Pope Gregory's 
 pun upon Angli and Angeli. 
 
 59. Key. ... 60. May. In Shakespeare's time key was 
 pronounced kay. 
 
 63. A carrion death. A skull without flesh. 
 
 65. Glisters. Shakespeare does not use glisten. 
 
 75. Welcome, frost. Halliwell explains that this is the 
 inversion of the old proverb, "Farewell, frost," which was used 
 whenever anything displeasing took leave. 
 
 77. Part. Depart. 
 
 Scene VIII 
 
 8. Gondola. Coryat, in describing the gondola, which 
 to-day is similar to what it was in earlier days, says: "If the 
 passenger meaneth to be private, he may draw the fair black 
 cloth, and after row so secretly that no man can see him." 
 This may have been done by Lorenzo and Jessica. 
 12. A passion. A passionate outcry. 
 
 27. Reason'd. Talked. 
 
 28. The narrow seas. The English Channel. 
 30. Fraught. Freighted 
 
 33. You were best. It were best for you. You is the in 
 direct object, not the subject. Another instance is found in 
 the Second Part of Henry VI (V. 1): "You were best to go to 
 bed." 
 """ s 39. Slubber. Do carelessly. 
 
 40. Riping. Ripeness. 
 
 42. Mind of love. Loving mind, 
 
152 THE MERCHANT OF VENICE 
 
 45. Conveniently. Suitably. 
 
 48. Sensible. Sensitive. 
 
 52. Embraced sadness, i.e., sadness which he has embraced. 
 
 Scene IX 
 
 13. Marriage. Pronounce in three syllables. 
 18. Address'd me. Prepared myself. Cf. Midsummer Night's 
 Dream (V. 107) : "Prepared to answer his desire." 
 Fortune, i.e., good fortune. 
 
 26. Fond. Foolish. Cf. III. 3. 9. 
 
 27. Martlet. A swallow. 
 
 28. In the weather. In the face of the storms. 
 
 31. Jump with. Agree with. Cf. Twelfth Night (V. 259): 
 "Till each circumstance cohere and jump." 
 
 37. Cozen. Cheat. Cf. King Lear (V. 3.153): "Thou art 
 not vanquish'd, but cozen'd and beguiled." 
 
 40. Estates. Status, rank. 
 
 43. The line means that many should then keep their hats on, 
 to show their superiority. 
 
 45-47. Dr. Johnson gives as the meaning: "How much 
 meanness would be found among the great, and how much 
 greatness among the mean." He explains the figure by saying 
 that "men are always said to glean corn though they may pick 
 chaff." 
 
 47. Ruin. Rubbish. 
 
 54. Schedule. A small scroll. Cf. Julius Caesar (III. 1. 3): 
 "Hail, Caesar! read this schedule." 
 
 62. Fire. Pronounce as two syllables. 
 
 67. I wis. Shakespeare uses wis as a verb, but there never 
 was such a verb. Ywis, in Old English, meant certainly or 
 indeed. 
 
 70. You are sped. Your fate is sealed. Cf. Romeo and 
 Juliet (III. 1. 94): "I am hurt. ... I am sped. Is he gone, 
 and hath nothing?" 
 
 76. Wroth. That which causes writhing, i.e., disaster. Ruth 
 is a synonym. 
 
 87. Sensible regreets. Greetings that are evident to the 
 senses, — i.e., substantial. Cf. use in II. 8. 48. 
 
 88. Commends. Commendations, compliments. Cf. Rich- 
 ard II (III. 3. 126): "Speak to his gentle hearing kind com- 
 mends." 
 
 89. Yet I have not. I have not yet. Yet was often used, in 
 Shakespeare's day, before a negative. 
 
NOTES: ACT II. SCENE IX 153 
 
 96. High-day wit. Holiday wit, as contrasted with every- 
 day wit. 
 
 98. Post. A messenger, or, as we say, a postman. 
 
 99. Lord Love. Cupid. She here invokes the aid of Cupid. 
 
 ACT III 
 
 Scene I 
 
 2. It lives there unchecked, i.e. the rumor is not contradicted. 
 
 4. The Goodwins. The Goodwin Sands are off the, eastern 
 
 coast of Kent. Tradition has it that there once existed there 
 
 an island belonging to Earl Godwin, and that in the year 1100 
 
 this island was swallowed up by the sea. 
 
 9. Knapped. Gnawed or nibbled. The idea that old women 
 were fond of ginger is again referred to in the play Measure for 
 Measure (IV. 3, 8): "Marry, then ginger was not much in re- 
 quest, for the old women were all dead." 
 
 27. The wings she flew withal. The disguise {i.e., the boys' 
 clothes) in which she ran away. 
 
 29. Complexion. Disposition. Cf. Hamlet (V. 2. 102): 
 "Methinks it is very sultry and hot for my complexion." 
 41. Rhenish. A white wine. 
 
 43. Match. Bargain. 
 
 44. A prodigal. This is probably Shylock's word, where 
 others would have called Antonio "generous." Shylock cannot 
 appreciate Antonio's liberality. 
 
 46. Smug. Trim, neat. In King Lear (IV. 6. 202) is the 
 expression "a smug bridegroom". 
 Mart. Market. 
 
 54. Half a million. That is, ducats. 
 
 68. Humility. Humanity. Cf. Love's Labour Lost (IV. 3. 
 349): "Plant in tryants mild humility." 
 
 71. It shall go hard, etc. I shall exert every effort to outdo 
 you in all you teach me. 
 
 77. Matched. Found to match them. 
 121. Turquoise. This stone was believed to possess unusual 
 qualities, its color being said to fade or grow brighter according 
 to the health of the wearer. In an earlv work, Fenton's Secret 
 Wonders of Nature (1569), we read: "The Turkeys doth move 
 when there is any peril prepared to him that weareth it." 
 
 130. At our synagogue. Victor Hugo, as quoted by Furness, 
 says: "In entering his synagogue Shylock entrusts his hatred 
 to the safeguard of his Faith. Henceforward his vengance 
 assumes a consecrated character," 
 
154 THE MERCHANT OF VENICE 
 
 Scene II 
 
 8. The line perhaps is intended to show what Furness calls 
 "Portia's maidenly embarrassment" at asking Bassanio to 
 pause "a day or two"; and "lest he should not understand her 
 well" in preferring such a request, she urges her incapacity as a 
 tongue-tied maiden to explain herself more fully. 
 
 15. O'erlooked. Bewitched. This refers to the old super- 
 stitious idea of the effect of "evil eye." In The Merry Wives 
 of Windsor (V. 5. 87) we find: "Thou wast o'erlooked even in 
 thy birth." 
 
 18. Naughty. Worthless. Used by Shakespeare in a differ- 
 ent sense than we use it to-day. It then meant good for naught. 
 
 20. Prove it so. If it prove so. She means: "If it prove that 
 I am not yours, then let fortune and not I take the punish- 
 ment." 
 
 22. Peize. Weigh or keep suspended. The word comes from 
 the French peser, meaning to weigh. Steevens explains that it 
 here means to delay, in the sense that as the weights of the 
 weighing scales are added, they hold back what is being weighed. 
 
 32. Upon the rack, etc. Referring to the rack used in the 
 early English prisons, to torture the victims suspected of treason. 
 Shakespeare here voices a protest against the injustice of this 
 punishment. The famous Tower of London witnessed many 
 cruel tortures during the reign of Queen Elizabeth. Cf. the 
 verb use in I. 1. 181. 
 
 44. A swan-like end. It used to be believed that swans sing 
 just before dying. Cf. Othello (V. 2. 247) : "I will play the swan, 
 and die in music." 
 
 46. Proper. Suitable. Cf. use in I. 2. 70. 
 
 49. Flourish, i.e. of trumpets. 
 
 51. Dulcet sounds, etc. A reference to the custom cf playing 
 music, on the marriage morn, below the bridegroom's window. 
 
 54. Presence. Dignified demeanor. 
 
 55. Alcides. Hercules. In Ovid's Metam. xi. is the story of 
 Hercules' rescue of Hesione, daughter of Laomeda, King of 
 Troy. Neptune had threatened to flood the country in return 
 for an offense committed by the king, but he had offered to stay 
 his threat if Hesione should be offered as a sacrifice. The maiden 
 was chained to a rock where she was exposed to the danger of 
 falling prey to a sea-monster. With the proffered reward of a 
 pair of horses, Hercules rescued her, not through love of the 
 maiden but because of the prize in store. Thus Portia shows 
 now much greater is Bassanio's motive, for Bassanio acts through 
 love. 
 
NOTES: ACT III. SCENE II 155 
 
 58. Dardanian wives. Trojan women. 
 
 61. Much much. See note II. 6. 42. 
 
 63. Fancy. Love. Weiss says it here means a passing senti- 
 ment, although elsewhere it refers to "genuine passion." 
 
 74. Still. Always. Cf. Hamlet (II. 2. 42) : "Thou still hast 
 been the father of good news." 
 
 76. Season'd. Rendered more agreeable. In one other in- 
 stance (IV. 1. 195) it is used to mean temper or moderate. 
 
 79. Approve. Prove. 
 
 81. Simple. Unmixed. 
 
 82. His. Its. See note on I. 1. 141. 
 
 86. Livers white as milk. See Note on II. 1. 7. 
 
 87. Excrement. Excrescence, an added growth. It is used 
 in speaking of the beard, which for some reason was mentally 
 associated with valor. The reference here is to a mere external 
 show of valor. Cf. Love's Labour Lost (V. 1. 109): "Dally with 
 my excrement, with my mustachio." 
 
 88. Beauty. Steevens says it here refers to "artificial 
 beauty." 
 
 91. Lightest. Not in weight, but in character. 
 
 92. Crisped. Curled. 
 
 94. Upon supposed fairness. Depending upon their counter- 
 feit beauty. 
 
 95. A second head. False hair, which was common in 
 Shakespeare's time. Furness quotes Barnaby Rich (1615): 
 "My lady holdeth on her way, perhaps to the tire-maker's shop, 
 where she shaketh her crowns to bestow upon some new-fashioned 
 attire, upon such artificial deformed periwigs, that were fitter to 
 furnish a theatre. . . . These attire-makers within these forty 
 years were not known by that name. . . . But now they are 
 not ashamed to set forth upon their stalls, — such monstrous 
 mop-poles of hair, so proportioned and deformed, that but 
 within these twenty or thirty years would have drawn the 
 passers-by to stand and gaze, and to wonder at them." 
 
 97. Guiled. Full of guile. 
 
 99. Veiling an Indian beauty. The commentators are at 
 variance regarding this passage, it being doubtful why Shakes- 
 peare uses the word beauty, when he is contrasting it with a 
 beauteous scarf. Some critics insist that a semi-colon be in- 
 serted after Indian. 
 
 102. Midas. The story is familiar. Midas, King of Phrygia, 
 was granted by Bacchus the power to turn whatever he touched 
 into gold. But when the food he touched was thus changed, he 
 realized the folly of his wish. 
 
 112. Rain. Probably means rein, to curb. 
 
156 THE MERCHANT OF VENICE 
 
 115. Counterfeit. Portrait. Cf. Timon of Athens (V. 1. 83): 
 "Thou draw'st a counterfeit best in all Athens." 
 
 126. Unfurnished. Bailey says that in another instance this 
 is used to mean unfellowed. Here it probably means "leave 
 itself without the other eye." 
 
 130. Continent. Container. 
 
 140. I come by note, etc. I come in accordance with what is 
 noted in the scroll, to give and to receive a kiss. 
 
 141. In a prize. In a contest for a prize. 
 157. Livings. Possessions. 
 
 159. The First Folio reads: "Is sum of nothing." The text 
 as given here, which has the support of many commentators, is 
 clearer than the Folio. 
 
 175. My vantage to exclaim on you. My opportunity to ex- 
 claim against you. In several instances Shakespeare uses 
 exclaim, on. 
 
 179. Fairly. Well, gracefully. 
 
 188, 189. Our time, that. Notice the reference of the relative 
 pronoun that to the antecedent our. Cf. Note on II. 1. 19. 
 
 194. Bargain. Contract. 
 
 196. So. Provided. 
 
 200. Intermission. Delay. Pronounce in five syllables. 
 
 209. Achieved. Won. 
 
 215. Salanio. In most texts a new character, Salerio, a 
 Messenger, is here introduced. It seems improbable that a new 
 character would be introduced here, when it did not appear in 
 the original Dramatis Personae. 
 
 219. Very friends. True friends. 
 
 228. Him. Himself. 
 
 232. Estate. State. 
 
 239. Shrewd. Evil, malicious. 
 
 243. Constant. Firm-minded, self-possessed. 
 
 258. Mere. Thorough, absolute. Cf. As You Like It (II. 7. 
 165): "Mere oblivion." 
 
 263. Hit. Succeeded. The word is a part of the expression 
 "hit the mark." 
 
 269. Discharge. Pay. Cf. The Comedy of Errors (IV. 1. 
 13): "I will discharge my bond." 
 
 272. Confound. Destroy. In the Bible occurs the expression 
 "confound thine enemies." Cf. Ps. Ixxi. 13: "Let them be con- 
 founded and consumed that are adversaries to my soul." 
 
 274. Impeach the freedom of the state, i.e. he denies that the 
 state grants free rights to aliens. 
 
 276. Magnificoes. The "chief men of Venice," — i.e. those of 
 highest rank, or port, as the next line says. 
 
NOTES: ACT III. SCENE II 157 
 
 277. Persuaded with. Argued with. Cf. Measure for Meas- 
 ure (V. 93) : "How I persuaded, how I prayed and kneeled." 
 
 278. Envious. Malicious. 
 
 281. Chus. A Biblical name. Cf. Gen. 10. 6, where the name 
 appears as Cush, one of the sons of Ham. 
 
 285. Deny. Forbid. Cf. IV. 1. 427. 
 
 289. Best condition'd and unwearied. Another instance of 
 the use of one superlative for two adjectives. Cf. ftote on 
 II. 1. 46. 
 
 Condition'd. Dispositioned. Cf. I. 2. 129. 
 
 296. Description. Pronounce as four syllables. 
 
 308. Cheer. Countenance. Cf. Midsummer Night's Dream. 
 (III. 2. 96): "All fancy-sick she is and pale of cheer." 
 
 315. Between you and I. This was an established Shakes- 
 peare idiom. Little regard was then given to the grammatical 
 usage of pronouns. Cf. I. 2. 28. 
 
 Scene III 
 
 9. Naughty. Worthless. See Note on III. 2. 18. 
 Fond. Foolish. Cf. II. 9. 26. 
 19. Kept. Dwelt. Cf. Julius Caesar (I. 2. 315): "Noble 
 minds keep ever with their likes. 
 
 23. Made moan. Complained. See note on I. 1. 126. 
 
 27. Commodity. Commercial advantages, convenience. Cf. 
 use in I. 1. 178. There has been considerable discussion as to 
 the antecedent of it in the line following; Furness favors com- 
 modity. 
 
 32. 'Bated. Reduced. Cf. I. 3. 119: "with bated breath". 
 
 Scene IV 
 
 2. Conceit. Conception, idea. See Note on I. 1. 92. 
 
 7. Lover. Friend. Cf . the introduction of Brutus' speech in 
 Julius Caesar (III. 2. 13): "Romans, countrymen, and lovers". 
 
 9. Bounty can enforce you. Benevolence can incline you to 
 be. 
 
 11. Nor shall not. Here is another double negative. Cf. I. 2. 
 26. 
 
 12. Waste. Spend. 
 
 25. Husbandry and manage. Stewardship and management. 
 Notice the noun use of manage. 
 
 28. Contemplation. Pronounce with five syllables. 
 
 33. Imposition. Injunction, order. There was not in the 
 word, as there is to-day, any implication of deceit. Cf. use 
 in I. 2. 104. 
 
158 THE MERCHANT OF VENICE 
 
 49. Padua. The seat of a famous university of law, which 
 was well known even in the Middle ages. (See Introduction, 
 p. 20). 
 
 50. Cousin. Kinsman. In some instances Shakespeare uses 
 it as we do to-day. For example, in As You Like It (I. 1. 113) 
 in speaking of Rosalind and Celia. 
 
 52. Imagined speed. The speed of imagination. 
 
 53. Traject. A word of doubtful origin, used by Shakespeare 
 in no other place. It seems plausible to associate it with the 
 Italian word traghetto, meaning ferry. 
 
 56. Convenient. Suitable. Cf. Coriolanus (V. 3. 191): 
 "I'll frame convenient peace." 
 
 59. Before they th'nk of us. i.e., of seeing us. 
 
 61. Accomplished. Furnished. Cf. Richard IT (II. 1. 177): 
 "Accomplished with the number of thy hours." 
 
 65. Braver. Finer in appearance and dress. Cf. Tempest 
 (I. 2. 411): "It carries a brave form." 
 
 69. Quaint. Beautifully woven, ingenious. Cf. The Taming 
 of the Shrew (IV. 3. 102): "A gown more quaint, more pleasing." 
 
 72. I could not do withal. I could not help it. 
 
 77. Raw. "Green." Cf. what Touchstone, in As You Like 
 It (III. 2. 76), says of Corin : "Thou art raw." 
 
 Jacks. Fellows. A term expressing contempt. 
 
 Scene V 
 
 3. I fear you. I fear for you. 
 
 4. Agitation. Launcelot meant to use cogitation, thought. 
 10. Enow. Enough. 
 
 33. Cover. Launcelot is using the word in its two meanings: 
 (1) cover the table, (2) cover the head. For the custom referred 
 to in the second meaning, see the note on II. 2. 194. It is 
 similarly used in II. 9. 43. 
 
 37. Quarrelling with occasion. Quibbling on every oppor- 
 tunity. 
 
 46. Conceits. Fanciful thoughts or devices. See Note on 
 I. 1. 92. 
 
 47. Discretion. Discrimination. Used in contrast to the word 
 quarreling, which was used in his previous speech. 
 
 Are suited. Go together, are matched. Perhaps here 
 meaning illy-matched. Cf. use of suited in I. 2. 72. 
 
 51. Garnish'd. Furnished; i.e., with words, 
 
 52. How cheer'st thou. Roberts' folio reads: "How farest 
 thou?" Cf. the noun use of cheer in III. 2. 308. 
 
 59-60, This passage has occasioned much discussion. Per- 
 
NOTES: ACT III. SCENE V 159 
 
 haps the clearest interpretation is given by Prof. Corson, who 
 suggests that mean is the verb form of the word meaning "be- 
 tween two extremes." He paraphrases thus: "If on earth he 
 do not observe a mean in his pleasures, it is reason he should 
 never come to heaven." This is indorsed by Furness* 
 
 64. Pawn'd. Staked. 
 
 69. Stomach. Appetite. 
 
 ACT IV 
 
 Scene I 
 
 Stage Arrangement for This Scene. Edward W. Godwin, in 
 The Architect, March 27, 1875, says: "I propose a diagonal set 
 for this scene, where the left side of the angle is taken up with 
 the raised platform for the Doge and Magnificoes; in front of 
 it the lawyers' table, at which, in the very centre of the stage, 
 stands Portia; to her left and in front of her stands Antonio; 
 on her right, at the end of the lawyers' table, in advance of 
 Antonio, and the nearest character to the footlights, stands 
 Shylock. Bassanio's position is on the platform, among the 
 nobles around the Doge." The article quoted gives further 
 minute details that would be suggestive in staging the scene. 
 See Furness, Variorum Shakespeare, p. 393. 
 
 Staunton says that Portia "appears as a judge, not an advo- 
 cate, and that her proper place, therefore, is on the judgement- 
 seat, below the Duke's throne, rather than on the supposed floor 
 of the Court, in front of the stage." 
 
 5. Empty from. In all other instances, Shakespeare uses 
 empty of. 
 
 7. Qualify. Soften, moderate. Cf. Hamlet (IV. 7. 114): 
 "Time qualifies the fire and spark of it." 
 
 8. Obdurate. The accent is on the second syllable. 
 10. Envy's. Hatred's. 
 
 13. Tryanny. Cruelty. 
 
 20. Remorse. Pity. 
 
 21. Apparent. Seeming. 
 
 22. Where. Whereas. 
 24. Loose. Release. 
 
 26. Moiety. Portion. Cf. Hamlet (1. 1. 90) : "A moiety com- 
 petent was gaged by our king." 
 
 29. Royal merchant. Italy in the Middle Ages offered as an 
 inducement to merchants to fit out vessels the gift of island 
 territory, where they could set up independent principalities. 
 In this way they became "royal merchants." 
 
160 THE MERCHANT OF VENICE 
 
 39. Charter. See note on III. 2. 274. 
 43. Say. Suppose. 
 
 Humour. Whim, turn of mind. 
 16. Baned. Poisoned. 
 
 47. A gaping pig. Probably refers to the roasted pig which 
 was brought to the table with a lemon in its open mouth. 
 Furness refers to Nashe's Pierce Penilesse, quoting this: "Some 
 will take on like a mad man, if they see a pig come to the table." 
 The work quoted from is an early story written in Shakespeare's 
 time. 
 
 59. Lodged. Settled. 
 
 69. Think your question. Consider that you are arguing 
 with. 
 
 71 . Main flood. Ocean tide. 
 76. Fretten. Fretted. 
 82. Judgement. Court sentence. 
 
 91. Parts. Duties. Allied to the word part, as used in a 
 play. 
 
 103. My power. My own authority. 
 105. Determine. Decide and render judgment. 
 122. Shakespeare uses the same play on words in Julius 
 Caesar (I. 1. 15) where the cobbler says he is a "mender of bad 
 soles." 
 
 124. Hangman. Executioner. 
 128. For thy life. For letting thee live. 
 
 130. Pythagoras. Pythagoras was a Greek philosopher who 
 held to the doctrine of the transmigration of souls. According 
 to this theory the soul, after the death of a human being, goes 
 over into the body of an animal, after whose death it again 
 seeks a human habitation. Cf . Twelfth Night (IV. 2. 54) : 
 
 Clown. What is the opinion of Pythagoras concerning wild fowl? 
 Malvolio. That the soul of our grandam might haply inhabit a bird. 
 
 159. Fill up. Fulfil. 
 
 160. Impediment to let him lack. Clarendon says it means: 
 "No hindrance to his receiving." 
 
 168. Take your place, i.e. on the judge's dais. See Note at 
 the beginning of this scene. 
 
 169. The difference that holds this present question in court. 
 The dispute that is under consideration in the present trial. 
 
 171. Throughly. Thoroughly. Cf. II. 7. 42. 
 
 178. Danger. Power to harm. (Skeat). Cf. Macbeth 
 (III. 2. 15) : "Remains in danger of her former tooth ." 
 
 180. Must. Portia uses the word in the sense of will, not as 
 implying the idea of compulsion. But Shylock interprets it 
 otherwise. 
 
NOTES: ACT IV. SCENE I 161 
 
 182. Strain'd. Restrained, restricted to a few people. Fur- 
 ness calls attention to Portia's use of strain'd as the answer to 
 Shylock's question of compulsion. 
 
 184. Twice blest. Carries two blessings. 
 
 195. Seasons. Tempers, moderates. See Note on III. 2. 76. 
 
 198. We do pray for mercy, etc. Probably refers to a similar 
 statement in the Lord's Prayer. 
 
 202. Follow. Insist upon. Cf. line 175. 
 
 206. Discharge. Pay. See Note on III. 2. 269. 
 
 212. Truth. Honesty. 
 
 221. A Daniel come to judgement. It may refer to an Apo- 
 cryphal story in the History of Susanna. Here Daniel is repre- 
 sented as convicting the Elders of falsehood. Furness calls 
 attention to the substitution of Solomon in Lansdowne's version. 
 This seems fitting, for the familiar story of Solomon's judgment 
 in the case of the two mothers (/ Kings hi. 16-28) shows how 
 well he played the part of an "upright judge". 
 
 246. Hath full relation. Is clearly applicable to. 
 
 249. More elder. A double comparative; commonly used by 
 Shakespeare. 
 
 253. Are there balance? Haliwell, as quoted by Furness, 
 says : u Balance was used in Shakespeare's time as a plural noun." 
 
 255. On your charge. At your expense. 
 
 266. Still her use. Ever her custom. 
 
 273. Speak me fair. Speak well of me. 
 
 275. Love. Friend. See note on III. 4. 7. 
 
 276. Repent. Regret. Used in III. 4. 72. 
 281. Which. Who. See note on II. 7. 4. 
 289. So. If. 
 
 294. Barrabas. We read in the Bible (John xviii, 40): 
 "Now Barabbas was a robber." 
 
 296. Pursue. Accent the first syllable. 
 309. Confiscate. Confiscated. 
 
 325. Just. Exact. Cf. Henry V (IV. 7. 122): "Bring me just 
 notice of the numbers dead." 
 
 326. Substance. Weight. Here meaning the mass, or gross 
 weight. 
 
 329. Estimation. Weight. In this instance, the estimated 
 weight. 
 
 332. I have thee on the hip. A wrestling expression. See 
 note on I. 3. 45. 
 
 344. Question. Pronounce as three syllables . 
 
 347. Alien. Pronounce as three syllables. 
 
 350. Contrive. Plot. Cf. Julius Caesar (II. 3. 16): "The 
 Fates with traitors do contrive." 
 
162 THE MERCHANT OF VENICE 
 
 370. Which humbleness may drive unto a fine. Which 
 humble petition of mine may lead me to change the sentence to 
 a fine. 
 
 371 . Ay, for the state ; not for Antonio. The part going to the 
 state may be so changed {i.e., to a fine), but not Antonio's part. 
 
 381. In use. In trust. Cf. Antony and Cleopatra (I. 3. 44): 
 "My full heart remains in use with you." 
 
 397. Ten more. For the purpose of making up a full jury of 
 twelve. 
 
 402. Presently. Immediately. 
 
 404. Gratify. Recompense. Cf. Cymbeline (II. 4. 7): "In 
 these feared hopes I barely gratify your love." 
 
 410. Cope. Give an equivalent for, pay for. 
 
 419. Of force. Necessarily. 
 Attempt. Tempt. 
 
 449. Commandment. Pronounce as four syllables, by spelling 
 it commandement, as in the early Folios. 
 
 Scene II 
 
 6. Upon more advice. Upon further thought. Cf. 1.1. 142, 
 where advised means careful, thoughtful. 
 
 15. Old swearing. Old is used as a word that merely intensifies 
 without adding any particular meaning. Rolfe alludes to our 
 modern slang phrase, "a high old time." 
 
 ACT V 
 
 Scene I 
 
 The Scene. Hunter, in New Illustrations, as quoted by 
 Furness, says: "The 'poet's pen' has nowhere given more striking 
 proof of its power than in the scene of the garden of Belmont. 
 We find ourselves transported into the grounds of an Italian 
 palazzo of the very first class, and we soon perceive them to be 
 of surpassing beauty and of almost boundless extent. It is not 
 a garden of parterres and flowers, but more like Milton's 
 'Paradise,' full of tall shrubs and lofty trees— the tulip tree, 
 the poplar, and the cedar. But it is not, like Milton's, a garden 
 in which the hand of Nature is alone visible. There are terraces 
 and flights of steps, cascades and fountains, broad walks, aven- 
 ues, and ridings, with alcoves and banquetting-houses in the 
 rich architecture of Venice. It is evening; a fine evening of 
 summer, which tempts the masters of the scene to walk abroad 
 and enjoy the breezes which ruffle gently the foliage. The moon 
 
NOTES: ACT V. SCENE I 163 
 
 is in the heavens, full orbed and shining with a steady lustre; 
 no light clouds disturbing the deep serene. On the green sward 
 fall the ever-changing shadows of the lofty trees, which may be 
 mistaken for fairies sporting by the moonlight; where trees are 
 not, the moonbeams sleep upon the bank. The distant horn is 
 heard, and even sweeter music floats upon the breeze." 
 
 4. Troilus. Prince Troilus was the son of Priam, king of 
 Troy. He secretly fell in love with Cressida, a Greek maiden. 
 Later, however, she proved traitor to Troilus and fell in love with 
 Diomed, a Greek warrior. Shakespeare got the story from 
 Chaucer's Troilus and Cresseide. The details appear in Shakes- 
 peare's play Troilus and Cressida. 
 
 7. Thisbe. Pyramus and Thisbe were Babylonian lovers. 
 They agreed upon a secret meeting-place and Thisbe reached the 
 place first. She became deathly frightened at the sight of a 
 lioness that was covered with blood in consequence of an en- 
 counter with another animal; and she fled, leaving behind her 
 cloak. Pyramus soon arrived on the scene, to find the cloak 
 which was now stained with blood. Heart-broken at supposing 
 she had been killed by the lioness, he killed himself. Thisbe, 
 on later returning, took her own life. The story first appeared 
 in Ovid's Metam. IV. Later we find it in Chaucer's Legende of 
 Goode Women. You are probably familiar with the humorous 
 presentation of the story in Midsummer Night's Dream. 
 
 10. Dido. In Virgil's story of the wanderings of Aeneas we 
 read of the visit Aeneas made with the Carthaginian queen Dido. 
 Here is the reference to his departure from Carthage. 
 
 Willow. An emblem of forsaken love. Cf. Twelfth 
 Night (I .5. 287) : "Make me a willow cabin at your gate." 
 
 11. Waft. Wafted. 
 
 13. Medea. The picture is of the sorceress Medea going 
 forth at midnight, as was her wont, to gather enchanted herbs. 
 Some of these herbs she boiled in a cauldron, and putting the 
 aged Aeson, Jason's father, into the boiling mixture, miraculously 
 restored his youth. Cf . note on 1. 1 . 170. The picture of Medea 
 is here introduced to add to the witchery of the midnight hour. 
 
 28. Stephano. Note the accent on the second syllable. As 
 used in The Tempest it comes on the first syllable. 
 
 31. Holy crosses. Furness quotes Knight as follows: "These 
 holy crosses still, as of old, bristle the land in Italy, and sanctify 
 the sea. Besides those contained in churches, they mark the 
 spot where heroes were born, where saints rested, where travelers 
 died." 
 
 39. Sola, etc. The words imitate the notes of the horn 
 carried by the courier, or "post". 
 
164 THE MERCHANT OF VENICE 
 
 53. Music. Here meaning a band of musicians. Cf. line 98. 
 
 59. Patines. Plates. Referring to the gold or silver plates 
 used for the bread in the Holy Sacrament, or the Eucharist. 
 Some commentators think the original word used was patterns, 
 and that the word is used to refer to the stars themselves. 
 . 61. His. Its. See note on I. 1. 141. 
 
 Like an angel sings. This refers to the ancient belief in 
 "the music of the spheres". Plato in De Republica discourses 
 upon the "harmony of the spheres". He pictures a siren sitting 
 on each one of the eight planets, singing the tone peculiar to the 
 individual "sphere." The eight tones produce the perfect 
 "harmony". 
 
 62. Cherubins. The Hebrew plural of cherub is cherubim, as 
 shown in the Biblical phrase "cherubim and seraphim." This 
 form, cherubins, is a plural formed from the French word cherubin. 
 It appears thus in A Lover's Complaint (319), and in The Tempest 
 (I. 2. 152). The form cherub appears in Hamlet (IV. 3. 50): 
 "I see a cherub that sees them," 
 
 63. Such harmony is in immortal souls. The ancient belief 
 was that the "music of the spheres" is heard only within the 
 immortal soul. 
 
 65. Close it in. Again referring to the ancient belief, accord- 
 ing to which the body, the "muddy vesture of decay," deadens 
 the harmony, "doth grossly close it in." Some read the line: 
 "Doth close us in;" but the early Folio says, "Doth grossly close 
 in it", seeming by it to refer to the harmony. 
 
 66. Wake Diana, i.e., wake the moon, Diana being the goddess 
 of the moon. 
 
 77. Mutual. Common. Cf. Midsummer Night's Dream 
 (IV. 1. 122) : "The skies, the fountains, every region near seemed 
 all one mutual cry." 
 
 79. The poet. Probably Ovid. 
 
 80. Orpheus. By the music of his lyre he charmed everything 
 within hearing. 
 
 87. Erebus. The dark underworld of mythology. Through 
 this must pass the departed spirits on their way to the Styx and 
 
 91. Naughty. See note on III. 2. 18. 
 
 98. Music of the house. Musicians. See note on line 53. 
 
 99. Without respect. Without regard to circumstances. For 
 another illustration of respect, meaning regard, see Midsummer 
 Night's Dream (I. 1. 160): "She respects me as her only son." 
 
 103. Attended. Attended to, attentively listened to. Furness, 
 however, thinks it does not need the preposition. To him it 
 means: "It is the attendant circumstances alone which prevent 
 
NOTES: ACT V. SCENE I 165 
 
 the lark and the crow from being equally good; even the nightin- 
 gale, if ill-attended, is no better musician than a wren." 
 
 109. Endymion. The shepherd loved by Diana. 
 
 121. A tucket sounds. The tucket is what has elsewhere 
 (III. 2. 49) been called a flourish; i.e., a series of sounds on a 
 trumpet. The Italian word is toccata. 
 
 127. Hold day with the Antipodes. If you, Portia, should 
 walk in the night, we should then have daylight, as do the 
 Antipodes, on the other side of the globe. 
 
 132. Sort all. Dispose all things. Cf. Richard III (II. 3. 36) ; 
 "All may be well; but God sort it so, 'tis more than we deserve." 
 
 136. In all sense. In every respect. Cf. The Taming of the 
 Shrew (V. 2. 141): "It blots thy beauty . . . and in no sense 
 is meet or amiable." 
 
 141. Breathing courtesy. The courtesy that does not go 
 beyond the breathing of words. 
 
 146. Posy. The motto on the inside of a ring. Cf. Hamlet 
 (III. 2. 162): "The posy of a ring." 
 
 154. Respective. Mindful, considerate. Cf. Romeo and Juliet 
 (III. 1. 128): "Away to heaven, respective lenity." 
 
 160. Scrubbed. Stunted in growth, or a stripling. Cf. our 
 word "scrub oak." To some commentators the word contains 
 a further meaning, implying that ugliness goes with the deformity. 
 
 175. I were best. See note on II. 8. 33. 
 
 195. Virtue. Power. 
 
 197. Contain. Retain. Cf. The Taming of the Shrew (Intro- 
 duction 1. 100): "We can contain ourselves." Elsewhere in this 
 play, as in II. 7. 11, we have the usual meaning of contain. 
 
 201. Wanted. Lacked. The text should read: "To have 
 wanted." Cf. Goldsmith's Vicar of Wakefield, Chapt. II: 
 "There were three strange wants at Wakefield, — a parson want- 
 ing pride, young men wanting wives, and ale-houses wanting 
 customers." 
 
 202. As a ceremony. As a sacred thing. 
 206. A civil doctor. A doctor of civil law. 
 
 226. Enforced. Involuntary. Cf. King John (V. 2. 30): 
 "This enforced cause." Pronounce it in three syllables. 
 
 231. Double. Evil, full of duplicity. Cf. Hamlet (V. 1. 118): 
 "His purchases, and double ones too." 
 
 235. Wealth. Welfare. To-day we so use it in the word 
 commonwealth. 
 
 239. Advisedly. Deliberately. Cf. I 1. 142: "with more 
 advised watch." 
 
 259. Living. Possessions. See III. 2. 157. 
 
 261. To road. To harbor. See note on I. 1. 19. 
 
166 THE MERCHANT OF VENICE 
 
 267. Manna. Here is an opportunity to review the Bible 
 story. 
 
 269. Satisfied of. Fully informed. Cf. Antony and Cleo- 
 patra (II .2. 52): "Of this my letters before did satisfy you." 
 
 271. Charge us there upon inter'gatories. Furness quotes 
 from Campbell as follows: "In the court of Queen's Bench, when 
 a complaint is made against a person for a 'contempt, ' the prac- 
 tice is that before sentence is finally pronounced he is sent into 
 the Crown office, and being there 'charged upon interrogatories', 
 he is made to swear that he will 'answer all things faithfully. ' " 
 The "interrogatories," then, are questions put to the witness. 
 
A STUDY OF THE PLAY 
 
 Lesson 1 
 
 Before any study can be intelligently undertaken, there 
 should be a reading of the entire play for the purpose of becom- 
 ing acquainted with the plot. In such a study, the making of a 
 topical outline is of great assistance. In making this outline, 
 the pupil should understand that a good topic is like a guide 
 post, in that it is not an end in itself, but is something that leads 
 the reader on. Such a topic, at the beginning, as The entrance of 
 Antonio, Salarino, and Salanio would lead nowhere in a reci- 
 tation. The following two topics are suggested for the beginning : 
 
 Salarino's surmise regarding Attionio's sadness. 
 Salanio' s surmise 
 
 The lesson assignment: Make a topical outline for Act I. 
 
 Lesson 2, 3, 4, and 5 
 Make topical outlines for Acts II, III, IV, and V. 
 
 Lesson 6 
 
 Act I. Scene 1. Lines 1-56. 
 
 Read what is said in the Introduction about Venice, (p 20). 
 How do you suppose an audience in Shakespeare's time would 
 know what the setting is? (See p. 11). How were these 
 Italian gentlemen dressed? (See p. 21). How does the mood 
 of Salarino and Salanio contrast with that of Antonio? How 
 does each attempt to explain his sadness? What does the 
 difference in the moods of these first speakers promise regarding 
 the moods of the play itself as it later develops? Why does the 
 suggestion of anxiety regarding the ships at sea seem a fitting 
 theme for the opening of the play? Would you judge from 
 
 167 
 
168 THE MERCHANT OF VENICE 
 
 Antonio's opening speech that his sadness is a habitual mood? 
 Why do you suppose he was sad now? Is there any hint given 
 in his later question to Bassanio (119-121)? Why does he 
 turn aside so abruptly Salarino 's hint regarding love (46)? 
 Would this suggest that Antonio is a man well along in years? 
 How old do you imagine him to be? Considering Antonio's 
 interest in Bassanio 's affairs, why is this reference to love a 
 fitting one at the opening of the play? 
 
 Look up and explain the following: 9. argosies. 11. pageants. 
 19. roads. 27. wealthy Andrew. 42. bottom. 50. two-headed 
 Janus. 56. Nestor. 
 
 Explain these expressions: 6. want-wit sadness. 10. on the 
 flood. 12. overpeer. 14. their woven wings. 18. (explain the 
 line). 22. cooling my broth. 25. hour-glass. 28. ribs. 52. 
 peep through their eyes. 54. vinegar aspect. 
 
 Memorize lines 1-5. 
 
 Lesson 7 
 
 Act I. Scene 1. Lines 57-118 
 
 The first mention of Bassanio shows him to be held in what 
 regard by Antonio? (57) Is Salarino discourteous? (60-61) 
 Show how Antonio's reply is both frank and courteous. (62-64) 
 What does Salarino mean by his reply? (68) What is the time 
 of day now? (70) How does Bassanio's explanation of Anto- 
 nio's sadness differ from the previous guesses? (73-76) Do 
 you suppose Shakespeare had a purpose in introducing Bassanio 
 at just this point? What figure of speech does Antonio use in 
 lines 77-78? Explain the comparison. Notice in Gratiano's 
 speech any evidence to show that Bassanio rightly judged him 
 in a later speech. (114) Look up the reference to medicine in 
 lines 81-82. (See Introduction, page 21). Explain the figure 
 in lines 93-94. What do we learn in Bassanio's speech (lines 
 114-118) as to the setting of the story? At this point, what is 
 your opinion of Antonio? of Bassanio? of Gratiano? 
 
 Look up and explain : 74. too much respect upon the world. 79. 
 fool. 92. conceit. 102. fool-gudgeon. 110. gear. 112. neat's 
 tongue. 
 
 Memorize lines 77-79; 93-94; 114-115, 
 
A STUDY OF THE PLAY 169 
 
 Lesson 8 
 Act I. Scene 1. Lines 119-end. 
 
 After Bassanio's critical remarks about Gratiano, does Anto- 
 nio join in with the criticism or does he turn to something else? 
 Does what he talks about pertain to his own interests? What 
 judgments of his character may we make? What would line 
 119 and line 131 indicate that Bassanio had previously talked 
 over with Antonio? Would this explain Antonio's sadness? 
 What reason has Bassanio for seeming embarrassed in ap- 
 proaching Antonio? What characteristic in Antonio is brought 
 out in his speech in lines 135-139? Explain Bassanio's figure of 
 the shaft. (140-152) What would this indicate regarding one 
 of the school sports in Shakespeare's day? How does Bassanio 
 propose to apply this shaft figure? (161-176) Is it a sound 
 business proposition? Locate Belmont. (161) (See Introduc- 
 tion, p. 20). Has Bassanio received any encouragement from 
 Portia? (163-164) (also Act I. Scene 2. Line 104). What de- 
 scription is here given of Portia? Does she seem different here 
 than when she later appears as a lawyer? Does that explain 
 why Bassanio does not then recognize her? Explain the refer- 
 ence to Brutus' Portia. (166) In what other play is she men- 
 tioned? iHow does Antonio's speech (177-185) further show 
 his character? 
 
 Look up and explain: 124. a more swelling port. 130. gag'd. 
 140. shaft. 141. fellow; flight. 143. proof. 163. sometimes. 
 171. Colchos; Jason. 
 
 Lesson 9 
 Act I. Scene 2. Lines 1-end. 
 
 Find the facts that this scene is intended to give to the 
 reader: the conditions of the choice of the caskets (27-32); the 
 wide distribution, geographically, of the suitors (locate all); 
 Portia's opinion of each; what happened to all (99-104); Bas- 
 sanio's previous visit (111-114); and Portia's feeling regarding 
 him (120-121). 
 
 Find in the scene all the evidences of Portia's girlish love of 
 fun. Has Shakespeare any purpose in thus picturing her? Is 
 she lacking in serious dignity? Is her mocking of the suitors 
 fair? Do you like her as she is here shown? How old do you 
 
170 THE MERCHANT OF VENICE 
 
 imagine her to be? How do you picture her appearance? 
 How well educated is she? (66-70). Is Nerissa more serious? 
 Does Nerissa 's relation to Portia seem in any way unusual for 
 that of a waiting-maid? What tiresome company may have 
 occasioned Portia's opening words? (1-2) What proverb sum- 
 marizes her speech in lines 12-17? Is the father's plan for the 
 choice of a husband a natural one? Do the customs of any 
 people seriously restrict a maiden in the choice of a husband? 
 Is Nerissa's defence of the plan (27-34) a strong one? In your 
 own words give Portia's reason for disliking each of the suitors 
 except Bassanio. Which of the suitors is most disliked? Does 
 this reflect on the nation he represents? What does she mean 
 when she says: "I had rather be married to a death's head" 
 (48); "God made him and therefore let him pass for a man" 
 (54); "If I should marry him, I should marry twenty husbands" 
 (60-61); "I will do anything, Nerissa, ere I will be married to a 
 sponge" (97-98)? 
 
 Explain the following: 43. County Palatine. 57. the weeping 
 philosopher. 59. throttle. 72. suited; doublet; round hose; 
 bonnet. 105. Sibylla. 
 
 Memorize lines 1-2; 12-17; 54. 
 
 Lesson 10 
 Act I. Scene 3. 
 
 At this point begins our study of Shylock's character. Read 
 the speeches in lines 33-38 and 40-51; then read the Intro- 
 duction, p. 26. Try to decide whether Shylock's feeling is 
 thirst for personal revenge or suffering for the wrongs of his 
 race. In connection with lines 43-44 read the Introduction, 
 p. 22. Read the speeches in lines 40-51 and 101-132; then 
 consider the reasonable and the unreasonable causes for Shy- 
 lock's hatred of Antonio. Do lines 57-59 show any good quality 
 in Shylock? What attitude and manner does Antonio display in 
 this scene? Do lines 125-126 seem consistent with Antonio's 
 character as we have seen it in Act I? Discuss the probability of 
 the agreement in lines 143-146 being made. Why is Bassanio so 
 much more distrustful of Shylock's bond than is Antonio? (146- 
 150) Upon what does Antonio base his assurance? (151-155) Is 
 Shylock's argument (156-165) convincing? Was Bassanio 
 
A STUDY OF THE PLAY 171 
 
 fully won over to favor the bond? (175) Do you believe An- 
 tonio was fully won over? (176-177) What is now your feeling 
 toward Shylpck? Is he eager to torture Antonio? Show how 
 shrewdly he has won his way. 
 
 Explain the following: 1. Value of a ducat. 12. a good man. 
 17. in supposition. 18. Tripolis; location. 20. the Rialto. 
 46. catch him upon the hip. 107. gaberdine. 136. doit. 
 
 Memorize line 94. 
 
 Lesson 11 
 Act II. Scene 1 and Scene 2. Lines 1-32. 
 
 (1) Scene 1. Why does Morocco make the statement in 
 line 1? Read Morocco's two speeches (1-12; 22-38) and notice 
 whether he devotes the time to self-praise or to praise of Portia. 
 How would this affect his cause as a suitor? How much does 
 Portia seem to favor him? Is she sincerely complimenting him? 
 What quality in Morocco is shown in lines 30-31? Why should 
 the requirement in lines 38-42 have been made in the father's 
 will? Why do they go to the temple? (44). 
 
 Explain the following : 17. scanted. 24. scimitar. 25. Sophy. 
 32. Hercules and Lichas. 35. Alcides. 
 
 (2) Scene 2. Lines 1-32. Notice the contrast between the 
 types of character here introduced and those in the previous 
 scenes. Is anything gained by picturing such a variety of char- 
 acters? Have you heard of any ways in which Launcelot, as 
 the part is acted on the stage, represents Conscience and the 
 Fiend? What is the meaning of via? (11) What opinion does 
 Launcelot express regarding his father's honesty? (15-17). 
 What finally brings him to a decision regarding running away? 
 
 Write these 32 lines as a play in one act and one scene, giving 
 your play a title, indicating the dramatic personae and the 
 setting, and properly writing out the individual speeches. 
 
 Lesson 12 
 Act II. Scene 2. Lines 33-end. 
 
 Is Launcelot wilfully disrespectful to his aged father? (37) 
 Is he an ignorant boy? (60-65; 163-164) In what sense does 
 he use the word father in line 61? Explain the joke in lines 
 
172 THE MERCHANT OF VENICE 
 
 56-57; also that in lines 77-78. What Bible incident in the 
 life of Jacob does line 79 remind you of? What gives Gobbo 
 the first inkling that this youth may be his son? How does 
 Launcelot fool his father so that the father thinks him changed? 
 (94-96) Compare Launcelot's opinion of Shylock (24, 106, 
 150-152) with that he has of Bassanio. (110-111) Do you 
 sympathize with his feeling toward them? Why does Launcelot 
 say he would run so far? (Ill) Launcelot and Gobbo stand 
 back to back in that part of the scene beginning line 114, and 
 they swing about as they speak. What does Launcelot mean 
 in line 134 by frutifyf What leads Bassanio to say what he 
 does in line 142? What does Gobbo mean in line 144 by defect? 
 Explain why this might be called a malapropism. What do 
 lines 194-195 show as to the table manners of men in Shakes- 
 peare's time? Does Bassanio think Gratiano will be true to 
 his promise to avoid garrulousness? (199). 
 
 Explain the following: 36-37. sand-blind; gravel-blind. 45. 
 God's sonties. 63. the Sisters Three. 104. set up my rest. 
 131. cater-cousins. 162. simple line of life. 
 
 Lesson 13 
 Act II. Scene 3-4. 
 
 (1) Scene 3. How do you learn from the text who Jessica is? 
 What do you imagine to be her age? Find in the scene all the 
 evidences as to the nature of the home life of Shylock and 
 Jessica. From the picture of Launcelot in the previous scene 
 can you imagine why Jessica called him a "merry devil?" (2) 
 Does Jessica give any good reason for her criticism of her father? 
 To what one criticism does she limit herself? Does she lack 
 conscience? (16-17) What do you imagine had been Shylock's 
 treatment of her? Do you blame her for what, in the last lines 
 of the scene, she contemplates doing? What do you think 
 occasioned Launcelot's deep feeling? (10-14) Did the present 
 Jessica gave him (4) have anything to do with it? Explain what 
 he means by saying: "Tears exhibit my tongue." (10) How has 
 this scene advanced the plot? 
 
 (2) Scene 4. What was the masque like? (See Introduction, 
 p. 23). Find the reference to this masque at the end of Scene 2. 
 Why is Lorenzo so much excited over the coming masque? 
 
A STUDY OF THE PLAY 173 
 
 Has Lorenzo had any previous correspondence with Jessica? 
 (12) Where have we heard of Lorenzo before? What is he doing 
 at this time? Where is he visiting? (Scene 3. Line 5). Does 
 Launcelot get double pay as messenger? (Compare Line 18 
 with Scene 3. line 4). How does the scene show the closeness 
 of the friendship between Lorenzo and Gratiano? Is Lorenzo 
 fair to Jessica in revealing their secrets to Gratiano? How did 
 Lorenzo's closing speech help the audience of Shakespeare's 
 time to grasp the meaning of the plot? 
 
 Explain the following : 6. quaintly ordered. 10. break up this. 
 23. marry. 
 
 Lesson 14 
 Act. II. Scene 5. 
 
 Is Shylock harsh to Jessica? to Launcelot? What is his atti- 
 tude toward each? What sort of attitude do they show toward 
 him? What is Jessica's manner? (10) Why has Shylock dis- 
 charged Launcelot? (3, 45-48) Why is he desirous that Launce- 
 lot serve Bassanio? (49-50) What is Shylock's reason for accept- 
 ing the invitation to Antonio's dinner? (14-15) Why has he 
 changed his attitude toward Antonio as shown in Act I. Scene 3. 
 Lines 33-38? Why was he invited? Why does Launcelot 
 beseech him to go? (19) Why does Shylock give his keys to 
 his daughter? (12) In lines 40-42 is Launcelot revealing any 
 secret? Is Jessica's falsehood in line 44 excusable? Does any- 
 thing in Shylock's speech beginning line 55 indicate that he did 
 not trust Jessica? Explain the proverb in line 53. 
 
 Explain the following: 18. to-night. 25. Black-Monday. 
 35. foppery. 45. patch. 
 
 Lesson 15 
 Act II. Scene 6. 
 
 This scene continues the story begun in what previous scene? 
 How much later is it in the day? (34, 63) Whose house is 
 referred to in line 1? Why called a "pent-house?" How does 
 Gratiano 's speech (8-19) foreshadow the coming elopement? 
 Paraphrase lines 14-15; 35; 36-37; 47; 49-50. Can you find 
 any excuse for the theft of Shylock's jewels? Was not this 
 jewelry her lawful dowry? Would she have gained it otherwise? 
 Can you find any excuse for her desertion of her father? Which 
 do you blame the more, — Jessica or her father? (Consult the 
 
174 THE MERCHANT OF VENICE 
 
 Introduction, page 32.) Has Jessica evidenced the three char- 
 acteristics given by Lorenzo in lines 53-55? What in nature 
 accounts for the unexpectedly early sailing of Bassanio? (64-65) 
 How does this speech of Antonio serve to turn our thoughts again 
 to the main plot of the play? Why doesn't Shakespeare con- 
 tinue with the details of the masque? Why is Gratiano so 
 anxious to sail? (66-67) Do lines 40 and 66 suggest to your 
 mind modern street lights and telephones? 
 
 Explain the following: 5. Venus' pigeons. 7. obliged faith. 
 
 Memorize lines 36-37. 
 
 Lesson 16 
 Act II. Scene 7. 
 
 Look back to the end of Scene I and see if you can discover 
 any reason why this scene was not placed directly after that 
 scene. With what previous impression of the Prince do you 
 begin the study of this scene? Picture fully the setting of this 
 scene. What curtains are referred to in line 1? Would lines 
 11-12 indicate that the Prince was not fully informed as to the 
 conditions of the choice? In your own words explain the reason 
 for Morocco's rejection of the lead casket and of the silver one, 
 and for his choice of the gold one. What impression do you get 
 of him from lines 32-33? Is Portia sincere in Scene I. Lines 
 20-22, and in her gracious words in this scene, or in her manner 
 merely affected? Does her last speech in this scene throw a 
 different light on this question? What objection would she have 
 to Morocco? What do you think his greatest fault? How far 
 is it from Morocco to Venice? Why had he come all this way? 
 How do you suppose he had learned of Portia? (38-47) What 
 did the gold casket contain? Have you heard line 65 quoted 
 differently? Why would there have been no need of the "scroll" 
 in the right casket? (70-72). 
 
 Explain the following: 41. The Hyrcanian deserts and the 
 vasty ivilds. 51. cerecloth. 
 
 Memorize line 65. 
 
 Lesson 17 
 Act II. Scene 8. 
 
 What in the first speeches would lead to the conclusion that it 
 is now the second day of the play? What does this scene bring 
 
A STUDY OF THE PLAY 175 
 
 out regarding the escape of Jessica and Lorenzo? (6-11) regard- 
 ing Shylock's feeling upon discovering this? (12-22) regarding 
 the loss of a ship? (28-30) regarding Antonio's feeling toward 
 Bassanio? (36-50) What troubles Shylock most? (12-22) 
 Do you feel any sympathy for him? Compare 23-24 and 
 2 Kings: ii. 23-24. Are children of to-day any different? Why, 
 upon hearing of Jessica's escape, did Shylock run down to the 
 wharf? (4-5) Why did the duke join him? Had Shylock sus- 
 picion of Antonio? Are we expected to conclude that the ship 
 that is reported lost is Antonio's? Does the scene lessen our 
 regard for Shylock? Does it heighten our regard for Antonio? 
 How do you think a Shakespearean audience would receive the 
 scene? 
 
 Explain the following: 28. the narrow seas. 48. sensible. 
 
 Lesson 18 
 Act II. Scene 9. 
 
 Whence came the Prince of Arragon? What are the three 
 conditions governing the choice of the caskets? (10-15) Which 
 of them have been mentioned before? Where? Why is the 
 first condition necessary in the dramatic unfolding of the play? 
 Would a suitor's acceptance of these conditions seem to you 
 probable? Why do you suppose they had been made so severe? 
 Is this scene in any way a repetition of that in which Morocco 
 makes his choice? Point out the innovations. Explain the 
 reason for Arragon's rejection of the two caskets. What char- 
 acteristic is prominently displayed in his remarks about the gold 
 casket? Compare him with Arragon in sincerity, in his feeling 
 toward Portia, in intellect, in pride, in his regard for outward 
 appearances, and in the way he takes defeat. Why does he 
 choose the silver casket? Do you think of Portia as knowing 
 the contents of the caskets? Would line 52 indicate a previous 
 knowledge of the contents? How does the motto on the silver 
 casket apply to this particular casket? From the way she ad- 
 dresses her servant (84) what mood should you judge Portia is 
 in? Can you find other evidence of this mood? Would you 
 know from the servant's words (85-93) who is approaching? 
 How does the closing line of the scene prepare us for what is to 
 follow? Do we know which casket he is to choose? Should 
 
176 THE MERCHANT OF VENICE 
 
 
 more than three choices have been shown on the stage? More 
 than two? Has Nerissa any reason for showing such a keen 
 interest in Bassanio's fortune? 
 
 Explain the following : 3. election. 26. fond eye. 27. martlet. 
 28. in the weather. 29. casualty. (compare with the use to-day 
 in war reports) 31. jump. 54. schedule. 
 
 Lesson 19 
 Act III. Scene 1. 
 
 Find in Act I. Scene 3 the same words that are used here in 
 line 1. Is there evidence that this occurs at a later time than 
 were the previous scenes? Do lines 8-9 remind you of any 
 habits you have known old people to have? Explain the figure 
 of speech in lines 11-12. Explain the jest in lines 38-41. In 
 what senses does Shylock use the word prodigal in speaking of 
 Antonio? (44) In the speech beginning line 52 how many times 
 does Shylock use the word "revenge?" Read in the Introduc- 
 tion (page 26) the interpretation of Shylock 's character and 
 then study this speech to find his motive in so vehement a de- 
 nunciation of Antonio. What would be the difference in our 
 interpretation of the speech if we tried to view it in the light of 
 Shakespeare's time? What do we learn of the extent and 
 character of Shylock's business? (54-56) Why does Antonio 
 wish to see Salanio and Salarino? (74) Would the speech be- 
 ginning line 83 indicate that Shylock has no love for Jessica, or is 
 money the sole object of his affection? Or is it her disloyalty to 
 her race that is in the background of his mind? What is his 
 reason for prizing the turquoise? (1 21 ) Can you find any pathos 
 in the speech? Evidently Tubal has been where? (108) Recall 
 the rumors we have had of the loss of ships that are now con- 
 firmed by Tubal's news. (100, 104) Notice the alternation of 
 good and bad news reported by Tubal. Is Tubal serious or 
 is he just playing with Shylock's feelings by this alternation? 
 If serious, is he skilfully leading up to a climax? .What is the 
 climax? "Bespeak the officer a fortnight before" what? (126) 
 How does Shylock's appointment to go to the synagogue affect 
 our opinion of him? 
 
 Explain the following: 4. Locate the Goodwins. 9. knapped 
 ginger. 45. smug. 121, Value of the turquoise to one in 
 Shakespeare's time. 
 
A STUDY OF THE PLAY 111 
 
 Lesson 20 
 
 Act III. Scene 2. Lines 1-148. 
 
 What effect do the expressions of love between Portia and 
 Bassanio have on the interest in the coming choice of a casket? 
 Has the knowledge of the previous choices lessened the interest 
 the audience feels in this third choice? Can you find any evi- 
 dences of Portia's playful nature? Find the line in which she 
 tells Bassanio that she knows which is the right casket. Also 
 the lines in which she expresses confidence that Bassanio will 
 make the right choice. Does Portia's desire that Bassanio 
 delay indicate any fears that he may choose wrongly? Why is 
 Bassanio so anxious to make the choice at once? Show how the 
 song (63-72) is intended to hint to Bassanio what casket he 
 should choose. Have the other suitors been given any assist- 
 ance? In giving this aid is Portia untrue to her father? Would 
 the other suitors have been influenced by this song? What 
 effect do Bassanio 's words show that it had on him? Can you 
 apply his sermon (73-107) to our life of to-day? How has 
 Shakespeare changed the form in lines 108-114 to show Portia's 
 emotion? Does the sight of Portia's portrait (115) assure 
 Bassanio that he has chosen the right casket? 
 
 Explain the following: 22. peize the time. 55-57. Story of 
 Alcides. 63. fancy. 81. simple. 99. Indian beauty. 102. 
 hard food for Midas. 115. counterfeit. 130. continent. 
 
 Memorize lines 81-82. 
 
 Lesson 21 
 
 Act III. Scene 2. Lines 149-end. 
 
 Find in Portia's speech (149-174) the evidences of her 
 humility; of her submissiveness to Bassanio. Would the refer- 
 ence to her knowledge of languages in Act I. Scene 2. Line 68 
 seem consistent with what she says here in line 159? What 
 evidence of learning does she later show in the court scene of 
 Act IV? What is the condition on which the ring is given? 
 (171-174) the vow with which it is accepted? (183-185) What 
 is there in Gratiano's speech (197-209) that explains the keen 
 interest Nerissa had shown in Bassanio 's fate? (Act II. Scene 
 
178 THE MERCHANT OF VENICE 
 
 9. Line 100) Why had Nerissa kept it secret from Portia? 
 Contrast Gratiano's reception of Jessica and Lorenzo (214) with 
 Portia's. (220) How chance they to be here? (221-225) Had 
 Salerio any purpose in urging them to join him? (227-228; 
 280-286) Was it a necessary part of Shakespeare's plan, to have 
 these characters in some way brought together? What has 
 occupied Portia's attention so that she overlooks her duty as 
 hostess? (233) How is her loyalty to Bassanio shown in her 
 attitude during Bassanio 's reading of the letter? (239-246) 
 Why is Bassanio so seriously disconcerted now? (248-259) 
 Locate the countries mentioned in lines 264-265. Is Jessica's 
 testimony as to her father's determination (280-286) to have 
 revenge so tainted by prejudice as to be unreliable? What do 
 you now believe to be Shylock's motive? Does Portia really 
 regard the debt as a trifle? (295) Why haven't Antonio's friends 
 supplied him the money? In what humorous sense did Portia 
 speak in lines 309? Why must it not be taken literally? What 
 favorable impression has this scene given us of Portia? of Bassa- 
 nio? of Antonio? What unfavorable impression of Jessica? of 
 Gratiano? 
 
 Explain the following: 200. intermission. 232. estate. 237. we 
 are the Jasons. 263. hit. 267. merchant-marring rocks. 269. 
 discharge. 308. cheer. 
 
 Lesson 22 
 Act III. Scene 3-5. 
 Scene 3. 
 
 Granting that the Elizabethan stage had no scenery, how 
 would the audience know that this scene was a street in Venice? 
 What personal grievance has Shylock against Antonio? (2, 6) 
 Why has Antonio thus loaned money? (22-24) Why has he little 
 hope of a favorable outcome of the trial? (27-31) Why does 
 Antonio especially desire to see Bassanio? (35-36) What has 
 the scene shown us regarding Antonio's situation? his courtesy? 
 his mental condition? his attitude toward Bassanio? toward 
 Shylock? How does the scene prepare us for the coming court 
 scene? 
 
 Explain the following: 9. fond. 32. bated. 
 
A STUDY OF THE PLAY 179 
 
 Scene 4. 
 
 Is Portia right in her statement regarding the effects of inti- 
 mate friendship? (11-15) Has she worried about her expenditure 
 of money? (19-21) Would Lorenzo seem to you a trustworthy 
 guardian of Portia's property (24-26)? Has Portia any excuse for 
 telling a falsehood about her plans? (26-32) Have her plans 
 been fully made? (76-81) Does line 51 give too broad a hint of 
 her plot? Why does Shakespeare have Jessica and Lorenzo leave 
 the stage when they do? (44) For what was Padua (49) noted? 
 (See Introduction, p. 20). Can you tell anything 'of its asso- 
 ciation with the World War? Why doesn't Portia now fully 
 inform Nerissa about her plans? (60-82) Is she confident of the 
 success of her plans? W^hat impression do you get of Portia's 
 ideas regarding men's manners? (62-76) Does she later display 
 these manners she now describes? Cain you tell of any situation 
 in other Shakespeare plays where women dress as men? 
 
 Explain the following: 2. conceit. 7. lover. 25. husbandry. 
 50. cousin. 65. braver. 69. quaint. 
 
 Scene 5. 
 
 Is this scene introduced merely to indicate a lapse of time 
 while Portia is traveling, or to quiet the minds of the audience 
 prior to a tense dramatic scene, or does it add materially to the 
 facts needed in the plot development? About what have 
 Launcelot and Jessica been talking when the scene opens? Is 
 your sympathy with Launcelot in his criticism of her? Does this 
 scene confirm any previous opinion you may have formed of 
 Jessica? What is her attitude toward her father? toward her 
 race? Explain Launcelot 's joke in line 30. What is Jessica's 
 opinion of Portia? (55-65) Is Lorenzo displeased at this praise 
 of Portia? or is he speaking humorously (65-66). 
 
 Explain the following: 4. agitation. 14. rasher. 
 
 Lesson 23 
 Act IV. Scene 1. Lines 1-117. 
 
 Up to this point in the play everything has pointed in what 
 direction as concerns the fate of Antonio? Try to picture the 
 scene in the court, arranging the position of each character. 
 
180 THE MERCHANT OF VENICE 
 
 Read in the Introduction (p. 23) about the Venetian Duke. How 
 do you imagine the Duke would have settled the case if Portia 
 had not taken it up? (3-10) What influence had Shylock and 
 others brought to bear? (35-37; also Act III. Scene 2. Lines 
 273-279) What does the Duke think of the sincerity of Shy- 
 lock's display of cruelty? (17-21) Does it seem in keeping with 
 the dignity and justice of court procedure for the Duke to 
 express an opinion of the plaintiff before the trial opens? (3-6) 
 How must this statement have affected Antonio? What effect did 
 his pleading with Shylock (17-34) have upon Shylock? Does 
 Shylock give any reason for his cruel determination (35-61)? 
 What have we previously decided to be the motive for this 
 strong feeling? With whom, at this time, is your sympathy? 
 Find all the instances in which Shylock emphasizes the law. Is 
 this emphasis due to Shylock 's inability to recognize the higher 
 law of mercy? Is there any difference between the tone of 
 Bassanio's and Antonio's speeches to Shylock? (62-82) Is 
 Bassanio lacking in mercy? Consider the force of each of 
 Antonio's allusions to nature. (70-76) Would Shylock's answer 
 to Bassanio's money offer (83-86) indicate that he would give 
 no consideration to money? What does he say to show that he 
 feels his action is absolutely right? (88-102) The Duke's words 
 (103-106) are meant to prepare us for what later situation? 
 What possible hope has Bassanio in his mind that leads him to 
 say what he does in lines 110-112? Explain Antonio's language 
 in lines 112-114. 
 
 Explain the following : 26. moiety. 32. Tartars. 
 
 Memorize lines 113-U4a. 
 
 Lesson 24 
 
 Act IV. Scene 1. Lines 118-302. 
 
 How would the way in which women's parts were taken on 
 the Shakespearean stage assist in the disguise used by Nerissa 
 and Portia? What other reasons would there be why even the 
 Duke would not suspect them of being disguised? Explain the 
 play on words in line 122. Compare Gratiano's language in 
 addressing Shylock with that of Bassanio and Antonio, as con- 
 sidered in the last lesson. (125, 127-137) Is Shylock's Ian- 
 
A STUDY OF THE PLAY 181 
 
 guage in reply in any way different in tone from that he used to 
 the others? Is Bellario's letter truthful? What must have 
 been the feeling of Antonio and of Shy lock at Portia's first 
 statement? (175-178) Paraphrase the "quality of mercy" 
 speech. (182-203) What purpose do you think Portia had in 
 her plea for mercy? Did she hope it would be effective with 
 Shylock? What was its effect on him? Did the principle under- 
 lying the speech apply equally well to Shylock 's assailants? Is 
 Shylock 's tone in his answer to Portia different from that he 
 showed toward Gratiano, Bassanio, and Antonio? What is 
 Portia's second point of approach? (206) Does she hope this will 
 be effective? or is she simply planning her case so as to prevent 
 Shylock from later claiming any money payment? or is she 
 aiming to seemingly establish one more point in Shylock 's 
 favor? Can you see any humor in the situation when Bassanio, 
 in the presence of Portia, makes the money offer? Why does 
 Shylock call Portia a "Daniel come to judgement"? (221) How 
 do you picture Portia's manner as she speaks in line 222? Has 
 the bond originally allowed a "pound of flesh nearest the mer- 
 chant's heart"? (See Act I. Scene 3. Lines 145-146) How 
 do Portia's dramatic orders (243, 250, 253, 255) add to the tense- 
 ness of the scene? Granted that a surgeon could do nothing 
 to save Antonio, what test of Shylock is Portia making in 
 requiring him to have one present? (255-256) Can you find 
 any humor in the situation presented by the speeches in lines 
 280-292? Has Shakespeare a purpose in introducing such a 
 situation at this moment of extreme tenseness? Is Portia im- 
 patient or is she simply getting a lot of fun out of the situation? 
 What do you think is Nerissa's feeling? How does Shylock 
 moralize on the situation? (293-296) Does it give us any light 
 on his real attitude toward his daughter? Try to express what 
 you think is now the feeling in the mind of each of the leading 
 characters. 
 
 Explain the following: 130-131. What was Pythagoras' doc- 
 trine? 169. difference. 182. strain'd. 195. seasons. 206. dis- 
 charge. 255. on your charge. 294. stock of Barrabas. 
 
 Memorize lines 182-200a. 
 
182 THE MERCHANT OF VENICE 
 
 Lesson 25 
 Act IV. Scene 1. Lines 303-398. 
 
 Now comes a swift turn in affairs. Shylock has repeatedly laid 
 emphasis upon "the law". Look back to find all the instances 
 of this. Now Portia, using the very same weapon Shylock has 
 wielded, insistence on the exact interpretation of the law, turns 
 the tables. She brings forward three legal points: (1) lines 
 303-310, (2) 323-330, (3) 345-354. The first two are often criti- 
 cized as mere quibbles. How do they fail to conform to the spirit 
 of the contract that has been made in the bond? The third is 
 above criticism. Would this alone have sufficed to win the case? 
 Might the first two have been purposely introduced by Portia to 
 match Shylock's absurd insistence on the minute details of the 
 law? What prevents Shylock from immediately replying to 
 Portia? Imagine Gratiano's manner and voice in his mocking 
 taunts (311, 315, 321). Does his mockery arouse your sympathy 
 with Shylock? Is Portia merciless in her demands, or is she 
 imitating Shylock's insistence on the law, or is she aiming to get 
 Shylock into a mood of penitence? Is Shylock to be blamed for 
 the demands he makes for his money (316, 334, 340) when he has 
 struggled so hard all his life to gain it? How do you feel toward 
 Gratiano after his speeches of lines 362-365, 377, 396-398? 
 How does the Duke show his generous spirit? (366-370) Does 
 Shylock's speech in lines 372-375 further arouse your pity? Is 
 Antonio fair in his three demands of Shylock? (378-388) Is 
 Shylock's statement "I am content" (392) said submissively, or 
 is he simply exhausted? Is there any ray of hope left him? Do 
 you suppose he is really sick? (394) Could Nerissa have drawn 
 up a deed? (392) Have "deeds of mercy" (200) been rendered 
 to Shylock? 
 
 Lesson 26 
 Act IV. Scene 1. Lines 399-end; Act IV. Scene 2. 
 
 Scene 1. Lines 399-end. 
 
 It is held by many that the play should come to a conclusion 
 at this point, since in their opinion the main plot has now ended. 
 What would you call the main plot? From what you know of 
 the story as it goes on, can you give any reason to justify this 
 
A STUDY OF THE PLAY 183 
 
 continuance? Is there any plot that is not yet complete? 
 Could Portia, as a stranger, be expected to have enough interest 
 in Antonio to refuse to accept pay for her services? (413-418) 
 How would the acceptance of money have affected her later 
 requests? What different meaning has line 417 to Portia 
 than it would have to Antonio and Bassanio? Can you blame 
 Bassanio for his words in lines 428-429? Does he justify 
 himself by his later words (432-435) or is this a weak ex- 
 cuse? What must Portia's thoughts have been? Was it not 
 unfair for Portia to press Bassanio so hard, or is she simply 
 enjoying a huge joke? What do later facts reveal her motive 
 to have been? 
 
 Explain the following: 410. cope. 412. explain the line. 
 419. attempt. 443. mad. 
 
 Scene 2. 
 
 What is the deed? (1) Why will it be welcome to Lorenzo? 
 (4) Why does she wish Gratiano to show Nerissa the way to 
 Shylock's house? (11) What is the mood of Portia and Nerissa 
 in this scene? Does this short scene add anything to the plot? 
 Why was it not inserted in Scene 1? What do you imagine as 
 happening after the scene ends? 
 
 Explain the following: 6. upon more advice. 
 
 Lesson 27' 
 Act V. Scene 1. Lines 1-88. 
 
 See if you can find lines that tell us the time and place of this 
 scene. What advantages would a modern theatre have in pic- 
 turing the scene? Are there any word pictures that satisfy us 
 in the absence of scenery? Does the first line indicate in any 
 way the mood the scene will have? How does this scene afford 
 relief from the tenseness of the court scene? Where is Portia 
 supposed to be? (28-32) Has she any reason for traveling at 
 night? Notice the skill Shakespeare shows in leading up from 
 reference to ancient love scenes to that of the present scene. 
 Would you expect either Lorenzo or Jessica to be familiar with 
 these classical stories? In lines 19-20 is Jessica in earnest? Is 
 Lorenzo in earnest in line 22? Does this scene give you a dif- 
 
184 THE MERCHANT OF VENICE 
 
 ferent impression of Lorenzo and Jessica than you have pre- 
 viously had? Find the nature pictures in Lorenzo's speech 
 (54-65). Is there any reason for Lorenzo's choice of Diana in 
 referring to mythology? (67) What do you suppose is the 
 effect of music on Jessica? (69) Do you believe Lorenzo's 
 words in lines 83-88? 
 
 Explain the following: 3-6. Story of Troilus and Cressid. 
 7-9. Story of Pyramus and Thisbe. 11. Story of Aeneas and 
 Dido. 14. Story of Medea. 24. footing. 39. Launcelot's use 
 of these particular words. 59. patines. 60-61. the singing of 
 the orbs. 62. cherubins. 64. this muddy vesture of decay. 80. 
 Story of Orpheus. 87. Erebus. 
 
 Lesson 28 
 
 Memorize and also write a paraphrase of lines 54-64; 83-88a 
 in Act V. Scene 1. 
 
 Lesson 29 
 Act V. Scene 1. Lines 89-end. 
 
 What change in the appearance of Portia and Nerissa is now 
 apparent? Can you give any illustration of Portia's proverb in 
 lines 107-108? Why does Portia give such a strict order to her 
 servants? (119-121) Explain Bassanio's compliment to Portia. 
 (127-128) What would the cordiality with which Portia wel- 
 comes Bassanio indicate as to the seriousness with which she has 
 taken his surrender of the ring? (129-132) Notice Gratiano's 
 manner in confessing to the surrender of the ring (145-148), and 
 compare it with that shown by Bassanio. (190-196) How does 
 Nerissa's meaning in what she says in lines 155-156 differ from 
 Gratiano's interpretation of it in line 157? What is learned 
 regarding Nerissa from Gratiano's description of the clerk? 
 (159-163) What does Portia mean by saying she would be 
 "mad"? (174) What is the effect of her words upon Bassanio? 
 (175-176) upon the audience's interest? Does Bassanio imply 
 in line 212 that he had given the ring against his own will? 
 What good trait is shown by his not accusing Antonio of having 
 encouraged the act? Why does Portia so speedily assure 
 Antonio there is no feeling against him? (225) What must 
 
A STUDY OF THE PLAY 185 
 
 have been the effect of Bassanio 's pleading (226-229) upon 
 Portia's efforts to feign anger? Show how the play ends hap- 
 pily for all. 
 
 Explain the following: 109. Endymion. 127. Antipodes. 
 141. breathing courtesy. 146. posy. 160. scrubbed. 195. 
 virtue. 197. contain. 202. to urge the thing held as a ceremony. 
 206. civil doctor. 235. wealth. 261. road. 271. charge us there 
 upon inter' gatories. 
 
 Lesson 30 
 
 GENERAL QUESTIONS UPON THE PLAY 
 
 Is the play a comedy or a tragedy? Why? (See Introduc- 
 tion, p. 12). Briefly outline the different plots connected with 
 the caskets, the bond, the rings, and the love story of Lorenzo 
 and Jessica. In which character have you been most deeply 
 interested? Why? Does the play end happily for all? Should 
 a story or a play always end happily? Why? Can it be a 
 tragedy and end happily? What does the play show that 
 might be an argument for regarding Shylock as unworthy of our 
 sympathy? (II. 3. 1-2; III. 1. 52. etc; III. 1. 87. etc; IV. 1. 
 4-5; 127). As deserving our pity? (II. 3. 20-21; II. 6. 49-50; 
 III. 1. 63-72) (Read the Introduction, p. 26.) Regarding 
 Portia's education see I. 2. 66-69; and IV. 1. 155. Bassanio 
 gives us a description of her (I. 1. 161-172). You can find sev- 
 eral illustrations of her wit, as in the ring episode and in her 
 caustic comments on her different suitors. Where does she 
 display her lovable qualities? her dignity? her light-heartedness? 
 her religious nature? her ability as a speaker? her use of flashing 
 scorn? (See Introduction, p. 27). Find in the play the dif- 
 ferent explanations suggested for Antonio's sadness? What is 
 your explanation? How does he show unselfishness? scorn? 
 tenderness? loyalty? (See Introduction, p. 31). Show the 
 sincere frankness of Bassanio in presenting his cause to Antonio; 
 his lack of charity in dealing with Shylock and with Gratiano; 
 his sincerity and truthfulness in the ring episode; his good sense 
 as shown in the choice of caskets. (See Introduction, p. 32.) 
 How was Jessica disloyal to her father? to her religion? Can 
 you suggest any instances of her displaying frivolity? Had she 
 
186 THE MERCHANT OF VENICE 
 
 any serious nature? Was she excusable for her follies? Why? 
 Would you take an intermediate ground, as does Hudson (See 
 Introduction, p. 32) or have you a positive opinion either in 
 sympathy with Jessica or in criticism of her? Find instances to 
 justify Bassanio's saying that Gratiano talked "an infinite deal 
 of nothing." What good purpose had he in so gayly talking 
 on in an endless stream? What purpose did Shakespeare have 
 in introducing such a character in the play? (See Introduction, 
 p. 33). Why is Nerissa admirably suited to be the companion 
 of Gratiano? Show instances where she displays wit; playful- 
 ness; caustic scorn; a strong will; talkativeness. (See Intro- 
 duction, p. 34). 
 
INDEX 
 
 Including Introduction and Notes 
 
 (Numbers indicate pages) 
 
 A', 147 
 
 A-capering, 141 
 Accomplished, 158 
 Achieved, 156 
 Address 'd me, 152 
 Advice, upon more, 162 
 Advised, 139, 146 
 Advisedly, 165 
 Agitation, 158 
 Alcides, 146, 154 
 Alien, 161 
 An, 141, 142 
 Analysis of plots, 25 
 Andrew, 138 
 Angel, 164 
 Antipodes, 165 
 Antonio, character of, 31 
 
 costume of, 36 
 Apparent, 159 
 Appropriation, 141 
 Approve, 155 
 Argosies, 137 
 As a ceremony, 165 
 Aspect, 145 
 Attempt, 162 
 Attended, 164 
 
 Backgrounds of the play, 19 
 Balance, 161 
 Baned, 160 
 Bargain, 156 
 Barrabas, 161 
 Bassanio, character of, 32 
 
 costume of, 36 
 'Bated, 157 
 Beauty, 155 
 Beefs, 145 
 Beholding, 144 
 Belmont, 20 
 Bestow'd, 148 
 Bid forth, 149 
 Black Monday, 149 
 Blank verse, 17 
 Blest, 146 
 
 Blest, twice, 161 
 
 Bonnet, 142 
 
 Bottom, 138 
 
 Bounty can enforce, 157 
 
 Brain; blood, 141 
 
 Braver, 158 
 
 Break his day, 145 
 
 Break up, 149 
 
 Breathing courtesy, 165 
 
 Breed, 144 
 
 Brutus' Portia, 140 
 
 By, 141 
 
 By my hood, 150 
 
 Carrion death, 151 
 
 Cater-cousins, 147 
 
 Cato's daughter, 140 
 
 Cerecloth, 151 
 
 Ceremony, 165 
 
 Chapels; churches, 141 
 
 Character Portrayal, 14 
 
 Characters, comments, on, 26 
 
 Charge, on your, 161 
 
 Charter, 160 
 
 Cheer, 157, 158 
 
 Cherubins, 164 
 
 Childhood proof, 139 
 
 Chronological arrangement of 
 
 plays, 8 
 Chus, 157 
 Circumstance, 139 
 Civil doctor, 165 
 Climax of a play, 14 
 Close, 150 
 Close it in, 164 
 Colchos, 140 
 Comedy, 12 
 Commandment, 162 
 Commends, 152 
 Comments on characters, 26 
 Commodity, 140, 157 
 Complexion, 145, 153 
 Compromised, 144 
 Conceit, 138, 157, 158 
 187 
 
188 
 
 INDEX 
 
 Condition, 142 
 Condition'd, 157 
 Confiscate, 161 
 Confound, 156 
 Confusions, 147 
 Constant, 156 
 Contain, 165 
 Contemplation, 157 
 Continent, 156 
 Contrary, 142 
 Contrive, 161 
 Convenient, 158 
 Conveniently, 152 
 Cope, 162 
 Costumes, stage, 34 
 Counterfeit, 156 
 County Palatine, 141 
 Courtesy, breathing, 165 
 Cousin, 50 
 Cover, 158 
 Cozen, 152 
 
 Cream and mantle, 138 
 Cressida, 163 
 Crisped, 155 
 Crosses, holv, 163 
 Danger, 160 
 Daniel, 161 
 Dardanian wives, 155 
 Date of the play, 15 
 Defect, 147 
 Denouement, 14 
 Deny, 157 
 Description, 157 
 Determine, 160 
 Devil cite scripture, 144 
 Diana, wake, 164 
 Dido, 163 
 Difference, 160 
 Disabling, 151 
 Discharge, 156, 161 
 Discretion, 158 
 Disguise, 148 
 Do withal, 158 
 Doctor, civil, 165 
 Doit, 144 
 Double, 165 
 Doublet, 142 
 Dress, the Italian, 21 
 
 Ducat, 142 
 
 Duke, the Italian, 23 
 
 Dulcet sounds, 154 
 
 Dwell, 145 
 
 Ean lings, 144 
 
 Embraced sadness, 152 
 
 Empty from, 159 
 
 Endymion, 165 
 
 Enforce, bounty can, 157 
 
 Enforced, 165 
 
 Enow, 158 
 
 Entertain, 138 
 
 Envious, 157 
 
 Envy, 159 
 
 Equal, 145 
 
 Erebus, 164 
 
 Ergo, 147 
 
 Estates, 152, 156 
 
 Estimation, 161 
 
 Exceeding, 67 
 
 Excess, 143 
 
 Exchange, 150 
 
 Exhibit, 148 
 
 Excrement, 155 
 
 Exposition of play, 13 
 
 Eye, 139 
 
 Fair, speak me, 161 
 
 Fairly, 156 
 
 Faithless, 149 
 
 Fall, 144 
 
 Falsehood, 144 
 
 Fancy, 155 
 
 Father, 147 
 
 Fawning publican, 143 
 
 Fear'd 145, 
 
 Fearful, 145 
 
 Fill-horse, 147 
 
 Fill up, 160 
 
 Fire, 152 
 
 Flight, 139 
 
 Flood, main, 160 
 
 Flourish, 154 
 
 Follow, 161 
 
 Fond, 152, 157 
 
 Fool, 138 
 
 Fool gudgeon, 139 
 
 For, 143 
 
 Force, of, 162 
 
INDEX 
 
 189 
 
 Forth, 137, 139, 149 
 
 Fortune, 152 
 
 Four strangers, 142 
 
 Fraught, 151 
 
 Fretten, 160 
 
 Frutify, 147 
 
 Full relation, 161 
 
 Gaberdine, 144 
 
 Garnish'd, 158 
 
 Gaping pig, 160 
 
 Gaged, 139 
 
 Gear, 139, 148 
 
 Gentle, 150 
 
 Glisters, 151 
 
 Golden fleece, 140 
 
 Gondola, 151 
 
 Good, 143 
 
 Goodwins, 153 
 
 Grammercy, 147 
 
 Grant continuance, 139 
 
 Gratiano, character of, 33 
 
 Gratify, 162 
 
 Gross a material, 151 
 
 Guarded, 148 
 
 Guiled, 155 
 
 Habit, 148 
 
 Had rather, 141 
 
 Hagar's offspring, 150 
 
 Hangman, 160 
 
 Heart cool, 21, 138 
 
 Heraclitus, 141 
 
 Hercules, 146 
 
 High-day wit, 153 
 
 Him, 156 
 
 Hip, have thee on, 161 
 
 upon the, 143 
 His, 139, 155, 164 
 Hit, 1 56 
 
 Hold day with Antipodes, 165 
 Holy crosses, 163 
 Hood, by my, 150 
 Hood mine eyes, 148 
 Hovel-post, 147 
 How to understand a play, 
 
 12 
 Humbleness, 162 
 Humility, 153 
 Humor, 160 
 
 Humour, 22 
 
 Husbandry, 157 
 
 Hyrcanian, 151 
 
 Ideas of medicine, 21 
 
 Imagined speed, 158 
 
 Impeach freedom of state, 1 56 
 
 Impediment to let him lack, 160 
 
 Impertinent, 147 
 
 Imposition, 142, 157 
 
 In all sense, 165 
 
 In supposition, 143 
 
 In the weather, 152 
 
 In use, 162 
 
 Incarnal, 146 
 
 Indian beauty, 155 
 
 Indies, 143 
 
 Indirectly, 147 
 
 Infection, 147 
 
 Insculp'd upon, 151 
 
 Interest, laws regarding, 22, 143 
 
 meaning, 143 
 Inter'gatories, 166 
 Intermission, 156 
 Italian dress, 21 
 
 duke, 23 
 
 setting, 20 
 Jacks, 158 
 Jacob, 144 
 Jacob's staff, 149 
 Janus, 138 
 Jason, 140 
 Jaundice, 22, 138 
 Jessica, character of, 32 
 
 costume of, 36 
 Jewess' eye, 149 
 Jews, attitude toward, 19 
 Judgement, 160 
 Jump with, 152 
 Just, 161 
 Kept, 157 
 Key, 151 
 Knapped, 153 
 Knave, 145 
 
 Laws regarding Interest, 22 
 Level at, 141 
 Liberal, 148 
 Lichas, 146 
 Life of Shakespeare, 7 
 
190 
 
 INDEX 
 
 Lightest, 155 
 
 Like, 151 
 
 Line of life, 148 
 
 Liver, 21, 138, 155 
 
 Livings, 156, 165 
 
 Lodged, 160 
 
 Loose, 159 
 
 Lord Love, 153 
 
 Love, 145, 161 
 
 Lover, 157 
 
 Make moan, 139, 157 
 
 Making question, 139 
 
 Magnificoes, 156 
 
 Main flood, 160 
 
 Manage, 157 
 
 Manna, 166 
 
 Mark, God bless the, 146 
 
 Marriage, 152 
 
 Marry, 147 
 
 Mart, 153 
 
 Martlet, 152 
 
 Masques, 23 
 
 Match, 153 
 
 Matched, 153 
 
 Medea, 163 
 
 Medicine, ideas of, 21 
 
 Merchant, royal, 159 
 
 Mere, 156 
 
 Metre, general laws of, 16 
 
 of this play, 17 
 Midas, 155 
 Mind of love, 151 
 Moan, made, 157 
 
 to be abridged, 139 
 Modesty, 148 
 Moe, 139 
 Moiety, 159 
 Moneys, 144 
 More elder, 161 
 Much much, 155 
 Music, 164 
 Must, 160 
 Mutton, 145 
 Mutual, 164 
 Mystery of a play, 14 
 Narrow seas, 151 
 Naughty, 154, 157, 164 
 Nazarite, 143 
 
 Needs, 149 
 
 Ncrissa, character of, 34 
 costume of, 36 
 
 Nestor, 138 
 
 Nice, 145 
 
 Nominated for, 145 
 
 Nor— none, 141 
 
 Nothing undervalued, 140 
 
 Obdurate, 159 
 
 Obliged, 150 
 
 Obscure, 151 
 
 Ocean, 137 
 
 O'erlooked, 154 
 
 Of, 143 
 
 Of force, 162 
 
 Office of discovery, 150 
 
 Old swearing, 162 
 
 On't, 150 
 
 On your charge, 161 
 
 Opinion, 138 
 
 Or— or, 139 
 
 Oracle, Sir, 139 
 
 Ordered, 149 
 
 Orpheus, 164 
 
 Other, 138 
 
 Over-weathered, 150 
 
 Pack, 146 
 
 Padua, 20, 158 
 
 Pageants, 137 
 
 Pain, 148 
 
 Palatine, Countv, 141 
 
 Parcel, 142 
 
 Part, 151 
 
 Parts, 160 
 
 Passion, a, 151 
 
 Patch, 150 
 
 Patines, 164 
 
 Pawn'd, 159 
 
 Peize, 154 
 
 Pent-house, 150 
 
 Persuaded with, 157 
 
 Pied, 144 
 
 Pig, gaping, 160 
 
 Pilled, 144 
 
 Play the fool, 138 
 
 Plays, chronological arrange- 
 ment of, 8 
 
 Pleasure, 143 
 
INDEX 
 
 191 
 
 Plots, analysis of, 25 
 Portia, character of 27 
 
 costume of 35 
 Possess 'd, .144 
 Post, 153 
 Posy, 165 
 Power, 160 
 Preferred, 148 . 
 Presages, 140 
 Presence, 154 
 Presently, 162 
 Prest, 140 
 Prevented, 138 
 Prize, in a, 156 
 Prodigal, 153 
 
 Producing holy witness, 144 
 Prologue of a play, 12 
 Proper, 142, 154 
 Prose, use of, 17 
 Provided of, 149 
 Publican, 143. . 
 Pursue, 161 
 Pyramus, 163 
 Pythagoras, 160 
 Quaint, 158 
 Quaintly ordered, 149 
 Qualify, 159 
 
 Quarrelling with occasion, 158 
 Question, 139, 160, 161 
 Rack, 154 
 Racked, 140 
 Rain, 155 
 Raw, 158 
 Reason'd, 151 
 Relation, full, 161 
 Remorse, 159 
 Repent, 161 
 Reproach, 149 
 Respect upon, 138 
 Respect, without, 164 
 Respective, 165 
 Rest you fair, 143 
 Rhenish, 153 
 Rhyme, use of, 17 
 Rialto, the, 143 
 Rib, 151 
 Richly left, 140 
 Ripe wants, 144 
 
 Riping, 151 
 
 Roads, 138, 165 
 
 Round hose, 142 
 
 Royal merchants, 159 
 
 Ruin, 152 
 
 Salanio, Salarino, 156 
 
 Sand-blind, 147 
 
 Satisfied of, 166 
 
 Say, 160 
 
 Scanted, 145 
 
 Scarfed, 150 
 
 Scenery, 11 
 
 Schedule, 152 
 
 Scrubbed, 165 
 
 Sealed under, 142 
 
 Season, 155, 161 
 
 Second head, 155 
 
 Self, 139 
 
 Sense, in all, 165 
 
 Sensible, 152 
 
 Sensible regreets, 152 
 
 Set up my rest, 147 
 
 Setting, the Italian, 20 
 
 Shakespeare, life of, 7 
 
 Shall, 139 
 
 Shrewd, 156 
 
 Shrive, 142 
 
 Shylock, character of, 26 
 
 costume of, 34 
 Sibylla, 142 
 Simple, 155 
 Single bond, 144 
 Sir Oracle, 139 
 Sisters Three, 147 
 Skipping, 148 
 Slubber, 151 
 Smug, 153 
 So, 156, 161 
 Sola, 163 
 Something, 139 . 
 Sometimes, 140 
 Sonties, 147 
 Sooth, 137 
 Sophy, 146 
 Sort, 142 
 Sort all, 165 
 Sources of the plot, 15 
 Speak me fair, 161 
 
192 
 
 INDEX 
 
 Sped, 152 
 
 Squandered, 143 
 
 Stage in Shakespeare's time, 10 
 
 Stage costumes, 34 
 
 Stead, 142 
 
 Stephano, 163 
 
 Still, 137, 139, 155, 161 
 
 Stomach, 159 
 
 Stood, 145 
 
 Strain'd, 161 
 
 Strange, 138 
 
 Struggle of play, 14 
 
 Study of the play, 167 
 
 Substance, 161 
 
 Suited, 142, 158 
 
 Sultan Solyman, 146 
 
 Supposed fairness, 155 
 
 Supposition, 143 
 
 Surety, 142 
 
 Swan-like end, 154 
 
 Swearing, old, 162 
 
 Swelling port, 139 
 
 Synagogue, 153 
 
 Table, 148 
 
 Teaches, 145 
 
 Temple, the 146 
 
 Ten more, 162 
 
 Theatre in Shakespeare's time, 
 
 10 
 Think you question, 160 
 Thisbe, 163 
 Thought, 138, 145 
 Thrift, 140 
 Throstle, 141 
 Throughfares, 151 
 Throughly, 160 
 Title of Play, 13 
 To-night, 142, 149 
 Too-too light, 150 
 Torch-bearers, 149 
 Towards my rest, 149 
 Traffickers, 137 
 Tragedy, denned, 12 
 Traject, 158 
 Tripolis, 143 
 Troilus, 163 
 Troth, 140 
 Trust, 140 
 
 Truth, 161 
 Tubal, 143 
 Tucket, 165 
 Turquoise, 22, 153 
 Twice blest, 161 
 Tyranny, 159 
 Unchecked, 153 
 Unfurnished, 156 
 Unities, 13 
 Untread again, 150 
 Upon the hip, 143 
 Upon more advice, 162 
 Upon supposed fairness, 155 
 Upon the rack, 154 
 Usance, 143 
 Use, in, 162 
 
 still her, 161 
 Vailing, 138 
 
 Vantage to exclaim, 156 
 Varnish'd, 149 
 Vasty, 151 
 
 Veiling an Indian beauty, 155 
 Venice in Shakespeare's day, 20 
 Venus' pigeons, 150 
 Very friends, 21 9 
 Via, 146 
 Virtue, 165 
 Waft, 163 
 Wake Diana, 164 
 Wanted, 165 
 Waste, 157 
 Wealth, 165 
 Weather, in the, 152 
 Weeping philosopher, 141 
 What, 149 
 Where, 159 
 Which, 161 
 Whiles, 142 
 Who, 150 
 Will, 141 
 Willow, 163 
 
 Wings she flew withal, 153 
 Wis, 152 
 Wit, 145, 153 
 Without respect, 1 64 
 Wroth, 152 
 Wry-necked fife, 149 
 Younker, 150 
 
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