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ACT 1 SCENE 1 Enter ANTONIO, SALERIO, and SOLANIO. Antonio, a prominent merchant, was on his way home from a meeting of Venetian ship-owners. His two friends, Solanio and Salerio, walked with him. The morning hadn’t gone well: Antonio had sat silently throughout. The depression that had fallen on him showed no sign of lifting and the two exchanged glances as their friend stopped and gazed out over the Grand Canal. Antonio’s low mood was becoming a worry to them. Antonio stared out towards the open sea, then sighed and stepped back to join his friends. ANTONIO 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. SALERIO Your mind is tossing on the ocean; There, where your argosies with portly sail, Like signiors and rich burghers on the flood, Or, as it were, the pageants of the sea, Do overpeer the petty traffickers, That cur'sy to them, do them reverence, As they fly by them with their woven wings. SOLANIO 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, Peering in maps for ports and piers and roads; And every object that might make me fear Misfortune to my ventures, out of doubt Would make me sad. SALERIO My wind cooling my broth Would blow me to an ague, when I thought

Truly, I really don’t know why I’m so depressed. You say you don’t like it but I myself don’t like it and feel tired of this mood of mine. Actually I don’t know the reason why I am so sad. This mood has changed me so much that at times I feel I don’t know myself.

Salerio put his hand on his friend’s shoulder and nodded reassuringly. ‘You are worried about your ships which are at sea. Out there at sea are your cargo ships, with their huge sails, who are like lords and rich merchants, like huge and magnificent spectacles floating on the sea, towering over and above the ordinary boats and vessels that bow respectfully to them as they pass by them.’ Solanio nodded. ‘Believe me, sir, he assured Antonio, if I had ships at sea like you, I would be lost in thought worrying about them. I’d spend my time plucking blades of grass to see which way the wind was blowing; I would be poring over maps, studying them for ports and piers and anchorages and the smallest thing that might affect my ships would make me anxious and worried.’ Salerio agreed entirely. He said ‘while blowing on my soup to cool it, I will be reminded of the dangers such a tempest may cause to my ship and will feel feverish out of fear. When my eyes would fall on the sandy hour-glass, I would be reminded of those areas at sea which are

What harm a wind too great at sea might do. 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, 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 bechanc'd would make me sad? But tell not me; I know, Antonio Is sad to think upon his merchandise. ANTONIO 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.

shallow and have sand banks where my ships carrying rich goods could get stuck and sink. On visiting the church, my eyes will fall on the stone made structure and will make me remember the dangerous undersea rocks which could destroy my ships and the valuable goods in them in seconds. Tell me can I stop worrying after such thoughts arise in my mind? So I am sure I know Antonio is engrossed in thoughts associated with his ships.’

Antonio looked up sadly. ‘Believe me, no,’ he said. ‘I’m fortunate enough that my investments aren’t dependent on a single ship nor are all my ships bound to the same place nor is my wealth at the mercy of on the business of this current year. So it’s not my ships or my enterprise that make(s) me so depressed.’ Solanio poked him playfully in the ribs. ‘Well then, you are in love!’ he teased. ‘Shame, shame!’ said Antonio and managed the ghost of a smile.

ANTONIO Fie, fie!

‘Not in love either?’ Solanio looked thoughtfully at him. ‘Then let us say that you’re sad because you aren’t happy. You could just as easily say you are happy because you are not sad. By two-headed Janus, Nature has created some strange people. Some smile for no reason or for every silly reason, while others are so peevish that they wouldn’t show their teeth in a smile even if the most solemn man told them the joke was funny.’

SOLANIO Not in love neither? Then let us say you are sad 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 twoheaded Janus, Nature hath framed strange fellows in

Antonio turned again and resumed looking out at the sea. Three young men were coming towards them. When Solanio recognised them, he showed his eagerness to pass their friend on to them. ‘Here comes your most highly esteemed friend, Bassanio,’ he said.

SOLANIO Why, then you are in love.

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. SOLANIO Here comes Bassanio, your most noble kinsman, Gratiano and Lorenzo. Fare ye well: We leave you now with better company. SALERIO I would have stay'd till I had made you merry, If worthier friends had not prevented me. ANTONIO Your worth is very dear in my regard. I take it, your own business calls on you And you embrace the occasion to depart.

‘Goodbye then: we’ll leave you with better friends.’ Salerio patted Antonio on the back. ‘I would have stayed till I had made you smile and laugh if better friends hadn’t come,’ he said. ‘You are as important to me as anyone else,’ said Antonio as he watched his friend Bassanio approaching with two companions. ‘As I perceive, it’s not them that stops you from staying but your own business that you need to attend to and you are just making use of this opportunity.’ ‘Good morning my lords,’ said Salerio. Bassanio, and his friends, Lorenzo and Gratiano were smiling round at them. ‘Good morning gentlemen, both!’ exclaimed Bassanio as he took their hands. ‘Can’t we meet sometime and enjoy together? Why are you behaving as strangers?’ Salerio was keen to get on his way and he nodded in agreement. ‘We’ll find some time to spend with you,’ he said, and with a final bow he and Solanio turned and left.

SALERIO Good morrow, my good lords.

The three young men were in high spirits, in contrast to Antonio, who, BASSANIO although pleased to see them, was Good signiors both, when shall we laugh? unable to show it. Lorenzo nudged say, when? Gratiano. ‘Bassanio,’ he said. ‘Now that You grow exceeding strange: must it be you’ve found Antonio we’ll leave you. so? But don’t forget that we’re meeting for dinner.’ SALERIO ‘I won’t fail you,’ said Bassanio. We'll make our leisures to attend on yours. Gratiano turned to leave then came back and addressed Antonio. ‘You don’t look Exeunt Salerio and Solanio. well, Senor Antonio,’ he said. ‘You are too worried. Those who spend their lives LORENZO worrying rarely get to enjoy their lives. My Lord Bassanio, since you have found Believe me, you’ve changed a lot.’ Antonio, We two will leave you: but at dinner‘To me the world is as it actually is, time, Gratiano,’ said Antonio. ‘It is a stage on I pray you, have in mind where we must which everyone has a role to play. My meet. role is that of a sad person.’ BASSANIO I will not fail you.

‘I would prefer to play the role of a happy

GRATIANO 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. ANTONIO I hold the world but as the world, Gratiano; A stage where every man must play a part, And mine a sad one. GRATIANO Let me play the fool: With mirth and laughter let old wrinkles come, 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 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, Which, hearing them, would call their brothers fools. I'll tell thee more of this another time: But fish not, with this melancholy bait, For this fool gudgeon, this opinion. Come, good Lorenzo. Fare ye well awhile: I'll end my exhortation after dinner.

fool!’ exclaimed Gratiano. ‘and have wrinkles on my face due to laughter. I would prefer to have my liver be heated with wine rather than my heart filled with sad groans. Why should a young man sit like a stone statue of his grandfather, why should he look dull and listless instead of being active, why should he look like a jaundiced man? Antonio – I am telling all this to you as I love you – there are men whose faces are blank and expressionless like a stagnant pond: they do that intentionally, in order to appear as men of wisdom, seriousness and deep thought. They behave as if to say ‘I am the embodiment of wisdom and when I open my mouth no one should dare to interrupt!’ Oh, my dear friend Antonio, I know these men who are regarded as wise just because they don’t say anything, but if they were to speak, they would immediately lose all respectability and would be ridiculed.’ He saw that Bassanio was trying to catch his eye, indicating to him to stop talking. ‘I’ll talk to you more about this later,’ he told the expressionless Antonio. ‘But it is my suggestion to you that you should not be like these men and try to use the melancholy as bait to catch the fish of public perception and reputation.’ Bassanio was giving him somewhat angry glances now and Gratiano grabbed hold of Lorenzo’s arm. ‘Come on, Lorenzo,’ he said. ‘Goodbye for now. I’ll finish my advice/lecture after dinner.’ Lorenzo laughed and bowed to Antonio. ‘Right then,’ he said. ‘We’ll leave you till dinner-time. I must be one of those silent wise men because Gratiano never allows me to speak.’ ‘Well remain with me for just two more years and you won’t even recognise the sound of your own voice!’ said Gratiano. ‘Goodbye,’ said Antonio. He made an effort to respond to their lightheartedness. ‘After all your advice, I think I will try to talk more,’ he said. ‘I hope so,’ said Gratiano. ‘As silence is only commendable in case of ox tongues served in a platter and girls unfit for

LORENZO Well, we will leave you then till dinnertime: I must be one of these same dumb wise men, For Gratiano never lets me speak. GRATIANO Well, keep me company but two years moe, Thou shalt not know the sound of thine own tongue. ANTONIO Farewell: I'll grow a talker for this gear. GRATIANO Thanks, i' faith, for silence is only commendable In a neat's tongue dried and a maid not vendible. Exeunt [Gratiano and Lorenzo]. ANTONIO Is that any thing now? BASSANIO Gratiano speaks an infinite deal of nothing, 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. ANTONIO Well, tell me now what lady is the same To whom you swore a secret pilgrimage, That you today promised to tell me of? BASSANIO 'Tis not unknown to you, Antonio, How much I have disabled mine estate, By something showing a more swelling port Than my faint means would grant continuance: Nor do I now make moan to be abridg'd From such a noble rate; but my chief care

marriage.’ They went off in high spirits, Gratiano whistling. ‘What do you make of that?’ said Antonio. Bassanio laughed. ‘Gratiano talks more nonsense than any man in Venice. The amount of sense in anything he says is like two grains of wheat hidden in a bushel of chaff: you’d search the whole day before finding them and when you do find them they aren’t worth the effort spent in the search.’ They started walking, past the grand palaces with their pink and gold-tinted facades and tall arched windows, towards the Rialto. Antonio tried to pull himself out of his dark mood. ‘Well now, Bassanio,’ he said. ‘Tell me about this lady whom you wanted to visit – you had promised to tell me about today?’ Bassanio was serious and intense. ‘Antonio, you know very well that I’ve wasted my inheritance by living beyond my means. But I’m not bewailing the loss of my estate: rather I am worried about repaying the large debts I’ve saddled myself with. Antonio You’re my main creditor, both in money and in affection. And because of that affection you have for me, I feel I may speak freely about the plans and schemes I have in my mind to rid myself of all my debts.

‘Bassanio,’ said Antonio, ‘tell me what you plan to do. And if your plan is as honourable as you are, my wallet, myself, and everything I have, are all at your disposal.’

‘In my school days, if I lost an arrow, I shot another in exactly the same way, watching it closely to see where the first one must have fallen. By risking both I

Is to come fairly off from the great debts Wherein my time something too prodigal Hath left me gag'd. To you, Antonio, 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. ANTONIO I pray you, good Bassanio, let me know it; And if it stand, as you yourself still do, Within the eye of honor, be assured, My purse, my person, my extremest means, Lie all unlock'd to your occasions. BASSANIO In my school-days, when I had lost one shaft, 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 Or bring your latter hazard back again And thankfully rest debtor for the first. ANTONIO You know me well, and herein spend but time 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. BASSANIO In Belmont is a lady richly left; And she is fair, and, fairer than that

often found both. I’m telling you this childhood example as what I propose to do is similar in intent. I owe you a lot, and I don’t think I will be able to return what I owe. But if you agree to help me once more, I have no doubt – because this time I will be extra careful – that I’ll be able to pay back all the earlier debts or at least the last one and remain obliged to you forever.’

‘You know me very well and yet you are wasting time by all this talk in a roundabout manner,’ Antonio. ‘Your doubts about whether I would help you to the best of my ability is more painful to me than if you had squandered all my wealth. Just tell me what you want me to do and I am ready to do that. So say.’

Bassanio took a deep breath. ‘There’s a lady in Belmont who has inherited a large fortune,’ he began. ‘And she’s very beautiful and she is endowed with wonderful qualities. I believe I have seen in her eyes unspoken love for me. Her name is Portia, and she’s no way inferior to Cato’s daughter, Brutus’ Portia. The whole world is aware of her qualities and suitors from every corner of the world are visiting Belmont to propose marriage to her. Her blonde hair cascades is like the golden fleece which attracts so many Jasons to come to Belmont, as if it is the shore of Colchos, to try to get her.’ Bassanio took a few steps toward the canal edge then turned and shook his head. ‘Oh, my dear friend Antonio, if only I had enough money to become a proper suitor, I am sure I would win her hand.’ Antonio nodded thoughtfully. ‘You know that none of my ships, wherein my wealth lies, have returned. At this moment, I don’t have the money in cash with me, nor do I have enough merchandise selling which I can raise the money. So try to find someone in Venice

word, Of wondrous virtues: sometimes from her eyes I did receive fair speechless messages: Her name is Portia, nothing undervalu'd 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; Which makes her seat of Belmont Colchos' strond, And many Jasons come in quest of her. O my Antonio, had I but the means To hold a rival place with one of them, I have a mind presages me such thrift, That I should questionless be fortunate!

who will lend the money in my name. I shall use my utmost to help you secure the money to go to Belmont. Go immediately and find out who has the money at hand to give on loan. I will also try to do the same. I’m sure money can be arranged either l borrow it on the strength of my credit or as a personal favour. Bassanio embraced him and almost ran as he hurried off on his mission.

ANTONIO 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: That shall be rack'd, even to the uttermost, To furnish thee to Belmont, to fair Portia. Go, presently inquire, and so will I, Where money is, and I no question make To have it of my trust or for my sake.

GLOSSARY The opening of drama gives the Exposition, the situation upon which the story is founded, The main characters are often described in an opening dialogue between two minor characters. Here the main story is the love romance of Bassanio and Portia. We meet Antonio early, and are made to know that he is an important figure. Shylock, too, is quickly made striking. In the first Scene, Shakespeare opens with the Merchant, who gives the title to the drama. Interest is quickened by showing him in a strange melancholy or sadness, which is never explained. Shakespeare’s motive was dramatic propriety, a foreboding of the dangers to come. Shakespeare liked to depict a certain type of male character given to undue reflection and sentiment, and backward in action. Other minor characters are introduced. Lorenzo is in the "under-plot" of his own love affair, which is concerned with the abduction of the Jew's daughter; Gratiano is a witty

and outspoken fellow who supplies a good deal of humour. But neither was intended by Shakespeare to serve any greater purpose than to throw a stronger light on the four chief characters. They are not supposed to attract the interest of the audience to themselves, but to increase that interest in the "Big Four". The character of Bassanio may suffer a little in the eye of the modern reader, because he is originally interested in Portia after the manner of a "fortune-hunter." But that impression is only due to the different outlook of the present day, for such an expedition was the middle age conception of gallantry, and would not be regarded as mercenary by Shakespeare's audiences. 2. It, the sadness of which Antonio is complaining. 3. caught, Antonio speaks of his melancholy as if it had been "caught", i.e. acquired like an infectious disease. 4. whereof, "of what parents, of what origin". 5. I am to learn, I have not yet discovered. 6. want-wit, a stupid fellow; a dull person. 7. ado, trouble; difficulty. 9. argosies, this word was chiefly used of large and important merchant ships, 9. portly, literally "of good part" or of a carriage which suggest importance. The word now suggests stoutness or fatness. Of course "fat" will give quite good sense here, since the sail of a ship, when well filled out by the wind, always has a full or fat appearance. 10. Antonio's argosies surpass other smaller ships, just as rich citizens excel the poorer men in appearance and dress. 10. signiors, the Italian word for "gentlemen" 11. pageant, this word signifies a grand display, or exhibition of any kind which appeals to the eye. Antonio's ships are said to present such a spectacle. 12. overpeer, literally "peer over," or "look over the top of." petty traffickers, unimportant trading ships. 13. curt'sy "bow to them in token of respect." This is a poetical way of describing the manner in which the small and light ships pitch up and down on the waves while the larger ship, because of its greater weight, sweeps along steadily, 14. woven wings, the sails of the ships are woven of canvas, and carry them along just like the wings of birds, from hidden bands of sand at sea, on which ships may run aground. 15. venture, a trading expedition, in which money has been risked. 15. forth, out on the sea; abroad. 18. plucking the grass, it is common for a country dweller to pluck a blade of grass, and hold it up in order to see from its movement the direction in which the wind is blowing. 19. roads, the word road in this sense means a sheltered piece of water, where a ship can lie safe from storms. 23. broth, a thick kind of soup. 24. ague, a kind of fever which is accompanied by fits of shivering, 26. Sandy hour-glass, an apparatus consisting of two glass bulbs or balls, which are hollow, and connected by a narrow tube. It contains a certain amount of sand, and the time in which the sand runs from one part into the other in one hour. They were commonly used before watches became common. The sight of the sand within the glass will naturally bring on the thought of dangers from the hidden bands of sand at sea on which ships may run aground. 27. shallows. .... flats, a shallow place, or a flat, i.e. a plateau of the sea bottom which rises up near the surface are both dreaded by mariners. 28. my wealthy Andrew, this was a name applied to any big merchant ship, because there had originally been a well-known merchant ship in the Mediterranean called Saint Andrew.

27. dock'd in sand, resting on a sand bank, if in dock. 29. Vailing ribs, the high top is the top of the mast; the ribs are the sides of the ships. If a ship is aground and has rolled quite over, then the top of the mast may be lower than the sides. 29. vailing, lowering. 30. To kiss her burial, to kiss the sands in which she is buried. 33. Which touching but, etc., which, if they only touch etc. 34. spices, aromatic substances and perfumes such as cinnamon, musk, etc., which formed valuable cargoes in those days. 34. stream, sea. 35. Enrobe, cover; clothe 35. in a word, short; briefly. 37-7. Shall I have the thought &c, shall my imagination not make me think of this and at the same time, not make me think that such an unfortunate happening would make me sad, etc. 37. bechanced, having happened. 43. bottom, ship. This is synecdoche, the figure of speech which uses the part for the whole. 49. Not in love neither, this would be incorrect in modern English, where we should say "either." We would describe this as the mistake of a double negative. But it was quite a common usage in Shakespeare's time, and quite correct. The old English custom was to double a negative for emphasis, and there was no thought of two negatives cancelling each other out. 52. Janus, was the Roman God who was supposed to preside over gates and doorways. He is always depicted with two heads, looking in opposite directions. He is mentioned here simply with the idea that Nature creates two different types of men, with different outlooks. 54. peep through their eyes, a repetition of Shakespeare's idea, (found in Julius Caesar) that merry men are usually fat, So the men here have such fat cheeks that their eyes are almost closed up, and they have difficulty in seeing through them. 55. laugh like parrots, indulge in shrill screams of laughter. 55. bag piper, one who plays the bag pipe. 56. vinegar aspect, this expression is still commonly used to describe a severe and gloomy expression of the countenance. 58. Nestor, was a Greek warrior mentioned in the Iliad of Homer, famous for great age and wisdom. He is mentioned here as symbolic of seriousness and gravity in general. Even he would laugh at a certain jest, but the people of "vinegar aspect" would refuse to join in. 63. prevented, the extra meaning is not "hindered," but rather "made it unnecessary." 64. worth, merit; value. 69. laugh, the sense is "When shall we have a merry party together?" The somewhat spendthrift part of Bassanio's character is quickly revealed to us. he is fond of mirth and good living, and we are not surprised when we learn shortly that he is in debt. 70. You…strange, You are becoming strangers to me; I see you so seldom. 77. respect world, anxious thoughts concerning worldly affairs. 79. marvellously changed, i.e., not looking in his accustomed good health and spirits. 71-80. The comparison of man's life in this world to a play upon the stage is a favourite one with Shakespeare. And mine a sad one, there is still no explanation of the fact that sadness seems so pronounced in the character of Antonio, before any shadow of misfortune has fallen upon him. But it may be that Shakespeare wishes to create a feeling of foreboding and destiny, on the principle that 'Coming events cast their shadows before." 83. play the fool, Gratiano still carries on Antonio's metaphor of life being a play acted upon a stage. He says that if Antonio has chosen to play a tragic part, he himself

prefer to have a comic role. In all the dramas of the time, the fool or clown was a recognised stock character, so the expression “to play the fool” meant to act like such a stage character. The fools on the Elizabethan stage were privileged characters, and had opportunities indulging in criticism and satire at the expense of their superiors, as well as cracking jokes. This is the part of the character which appeals to the impudent Gratiano. 86. mortifying, Literally, "death-causing". 88. Sit … alabaster, alabaster is a pure white stone used for making statues; hence this means simply "sit as still as a carved statue." 89. Sleep when he wakes, appear sleepy in his waking hours. 89. creep into the jaundice, "gradually work himself into a jaundiced or liverish state." It was believed then that jaundice was caused by mental worry. 89. peevish, irritable; ill-tempered. 92. There are a sort, etc., in modem usage, we should expect the verb to be 'is' but Shakespeare often is guided by plurality in the sense, because 'sort' denotes a class containing a number. 93. Do cream .... pond, the figure is that of cream forming on the top of milk, or a green covering forming on the top of still waters in a pool. Certain men allow a grave look thus to form on their faces. 94. do a wilful stillness entertain, and assume deliberate pose of silence. 95. With purpose, with the intention of, dressed in opinion, covering themselves with a reputation for, etc. 97. Sir Oracle, an oracle, in the old world, was the inspired utterance of a priest, a direct statement from God. It was by all without question. Shakespeare says that the class of men he is describing, with their pompous attitude, expect every word they utter to be received with this kind of respect. 98. Let no dog bark, let not even the lowest dare to interrupt. 100. therefore only, solely on that account 102. If they should speak ... ears, these men earn a reputation for wisdom by saying nothing. But if they should speak, they bring damnation or divine punishment on those who hear them, for those who listened could not help saying 'Fools!' (In the Bible teaching, it is said that the man who calls his brother man a fool is in danger of condemnation.) 105. melancholy bait, by using 'Melancholy just as an angler uses a bait on his book to catch a fish. 105. The gudgeon is a worthless and stupid fish, very easily caught. Hence it is selected as a suitable symbol for the valueless opinion of the mob. 108. exhortation, sermon; good advice. 109. mor, an old-fashioned form of "more" or "many." 114. for this gear, the general sense of the line is that Antonio is supposed to say humorously, "Well, you have converted me : I shall a talker instead of a silent man." The words "for this gear are difficult to explain. It may be a colloquial phrase which had no particular meaning. 115. text should read here, "In a neat's tongue dried and a maid not vendible.” i.e. "In a dried ox tongue ready for the table or in a woman who has missed the chance of making a marriage" 115. "Vendible" means "saleable" i.e. likely to attract suitors in marriage: Or it might be taken to mean "whose virtue is not for sale”. 119. Infinte deal of nothing, a vast amount of nonsense. 119-23. In observing the manner in which Shakespeare delineates any character, it is important to note what other people in the play say concerning the character in question. So Bassanio dismisses Gratiano with the criticism that his reasons are difficult to discover, and are not of much value when one has discovered them. It is to

be observed that these lines are in prose; Bassanio is anxious to end this topic of conversation and talk of his own affairs. 124-26. Well tell me … tell me of, Antonio's words introduce Portia and prepare us for her appearance in scene II. By natural dialogue, we know all about her before she appears. 128. disabled my estate, reduced my resources; 128. strained my means. estate is now taken to refer to land, but Shakespeare uses the word to denote "means" or "possessions" in general. 129. something, to some extent; somewhat. 129. swelling port, a puffed-up appearance; an appearance of wealth and ostentation. 130. Than my faint continuance, that my scanty income can enable to continue or keep up. 131. make moan to be abridged, grumble at having to be reduced (in my expenditure.) 132. noble rate, noble style of living. 133. to come fairly off, to come out honourable from; to be free from. 134. Wherein my time .... gaged, in which my life, which has been rather wasteful, has left me involved. 137. I have a warranty, may mean "an assurance" but a better rendering would be "I have the privilege of, etc." 138. unburden all purposes, to unfold to you all my schemes and intentions. 138. How to get clear, by means of which I hope to get clear. 142. Within the eye of honour, within honourable limits; within what men would regard as honourable. 142. advised watch, careful observation. 143. my person, my very body. Antonio only offers this in the exaggeration of speech, but the events of the drama make it come literally true. 143. extremest means, utmost resources.' 144. unlock'd to your occasions, open to your every need 147. his fellow; literally "his companion," Here it means "a similar arrow," 147. of the ... flight, with equal capacity of flying" or "with equal range." 149. to find forth, the word forth will give the simplest meaning if we take it as going along with the verb shot (L-141), i.e. I shot forth his fellow to find the other. It will be noticed that line 143 is unusual in as much as it possesses twelve syllables, or is what we call an Alexandrine. This is uncommon in Shakespeare. 150. childhood proof, illustration from childhood. 151. Because innocence, Bassanio’s meaning is that he produces an illustration from the innocent days of his childhood because the request which he is about to make is just as innocent 152. like a wilful youth, as is usually the case with a reckless youth. 154. self-way, '-the same way" 156. or to find both, the or here is used in the sense of “either” and it was common in Shakespeare’s time 159-60- Bassanio's meaning is that he will be so careful in his scheme that, even if he does not recover the lost money he had originally borrowed from Antonio, he will ensure that the newest loan (latter hazard) will be returned and he will still remain in Antonio’s debt for the original sum. 159 circumstance, hints; 160. uttermost, my extreme efforts. 165. may by me be done, is possible for me to do 166. prest into it, enlisted into your service; drawn to your aid. 168. fairer than that word, what is even better than the word "Fair," etc. 170. fair speechless messages, silent glances which revealed her thoughts. 171. nothing undervalued, in no way inferior to.

172. Portia, Shakespeare was interested in Roman history, and particularly so in the case of all that pertained to Julius Caesar. In his play, Julius Caesar, Brutus is the chief character. His wife, Portia, is a daughter of the famous Roman scholar and orator, Cato. Shakespeare's conception of the character of Portia in Julius Caesar is a high one. 174. four winds, North, South, East, and West. 176. golden fleece, the reference is to a famous legend of ancient Greece. "Fleece" usually refers to the crop of wool from the back of a sheep or ram. A celebrated hero called Jason, with his companions, the Argonauts went on a perilous voyage to Colchis in the Black Sea, in search of this fabulous golden fleece. 178. many Jasons i.e., many suitors came, just as Jason come of old. 180. hold a rival place with, oppose them as a rival. 181. I have… thrift, I have in my mind an instinct telling me that I shall be so fortunate as to be the lucky one. 184. commodity, goods; merchandise. 187. rack'd, strained; stretched to the utmost. 188. To furnish .... Belmont, to equip you suitably for your expedition to Belmont. 190. I no question make, I have no doubt that shall, etc. In certain editions, the text reads "So have it of my trust … while other prefer "To have it " The latter seems more probable.

ACT 1 SCENE 2 Portia’s companion, Nerissa, had become a close friend since the death of Portia’s father. Apart from a similar sense of humour, their being of the same, marriageable, age gave them a great deal in common and much to talk about. Moreover, the impossible situation Portia’s late father had placed his only child in by the terms of his will, made a close confidant a most valuable asset. They sat in the hall of Portia’s Belmont villa, trying yet again to make sense of it all. SCENE: Belmont. A room in PORTIA'S house. Enter PORTIA and NERISSA PORTIA By my troth, Nerissa, my little body is

Portia sighed. ‘Honestly, Nerissa,’ she said. ‘I am tired of this existence.’

aweary of this great world. NERISSA 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 mean happiness therefore, to be seated in the mean: superfluity comes sooner by white hairs, but competency lives longer.

‘You should have felt fed up, dearest madam, if your misfortunes were as much as her good fortunes (you have no reason to be fed up),’ said Nerissa, ‘but, I feel those who overeat suffer as much as those who starve (wealthy people suffer as much as poor). The secret of happiness lies in being neither too rich nor too poor. Rich people worry too much and get grey hairs too soon while those who have enough lead a satisfied existence.’ ‘What you have said is right,’ said Portia.

PORTIA Good sentences and well pronounced. NERISSA They would be better, if well followed. PORTIA 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 madness the youth, to skip o'er the meshes of good counsel the cripple. But this reasoning is not in the fashion to choose me a husband. O me, the word 'choose!' I may neither choose whom I would nor refuse whom I dislike; so is the will of a living daughter curbed by the will of a dead father. Is it not hard, Nerissa, that I cannot choose one nor refuse none?

NERISSA Your father was ever virtuous; and holy men at their death have good inspirations: therefore

‘It would have been better if the words were put to right use,’ she said. ‘If to give advice were as easy as to implement the advice,’ said Portia, ‘the world would have been a totally different place with more people becoming religious and there would have been no difference between the poor and the rich. None but a good priest can follow his own principles. It is easier to advise twenty people than be one of the twenty and follow the advice. Man is such as whose emotions overrule the suggestions of his mind. Youth is like a hare which avoids listening to advice while advice is like a crippled man who counsel the young. But anyway this discussion is useless as it won’t help me choose a husband.’ She sighed. ‘Oh the word ‘choose!’ I can neither choose who I want nor reject whom I don’t like. Thereby the earnest wish of a daughter, who is alive, is disallowed by the will of a father, who is no more. Isn’t it cruel, Nerissa, that I have been given no right to choose or reject?’ ‘Your father was a pious man and such men are often influenced by godly wisdom at the time of death,’ said Nerissa. ‘And so the idea of three chests – gold, silver and lead – one of them containing your portrait and the one who chooses the right shall marry you – will not be correctly chosen by anyone but one who loves you and whom you will

the lottery, that he hath devised in these three chests of gold, silver and lead, whereof who chooses 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? PORTIA I pray thee, over-name them; and as thou namest them, I will describe them; and, according to my description, level at my affection. NERISSA First, there is the Neapolitan prince. PORTIA Ay, that's a colt indeed, for he doth nothing but talk of his horse; and he makes it a great appropriation to his own good parts, that he can shoe him himself. I am much afeard my lady his mother played false with a smith. NERISSA Then there is the County Palatine. PORTIA He doth nothing but frown, as who should say 'If 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 defend me from these two! NERISSA How say you by the French lord,

love.’ Portia is not pacified by such advice and Nerissa asks her: ‘What do you feel about the ones (suitors) who are already here?’ Portia laughed. ‘Oh please, tell me their names one by one and I shall tell you how I feel about each one.’ They broke into a fit of giggles and when that had subsided Nerissa cleared her throat. ‘First, the Prince of Naples.’ ‘Oh he is a young horse!’ exclaimed Portia. ‘He talks about his horse and nothing else and he speaks of his ability to shoe his horse as if that is a special quality. I feel that he might have been born out of his mother’s affair with a blacksmith!’ When they had stopped laughing Nerissa said: ‘There’s the German Count Palatine.’ ‘He frowns a lot (he seems to be always irritated) and his facial expression seems to say that if I do not marry him, he is least bothered. Even amusing stories do not make him smile. I am sure being so he’ll turn out to be a weeping philosopher in his old-age, as he’s so full of misery in his youth. I’d rather be married to a skull with a bone in its mouth than to either of those. God defend me from these two!’ ‘What is your feeling about the French gentleman, Monsieur Le Bon?’ Portia made a dismissive gesture with her hand. ‘Well!’ she said, ‘As God made him, we’ll accept him as a man. I know it’s not proper to mock a man! But he’s more attached to his horse than the prince of Napoli and frowns more than the Count Palatine. He has no individuality of his own and imitates something from everyone. He dances to anyone’s tune even a thrush. He is so ridiculous that he is ready to fence with even his own shadow. If I marry him, it will seem that I have married twenty

Monsieur Le Bon? PORTIA God made him, and therefore let him pass 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 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.

NERISSA What say you, then, to Falconbridge, the young baron of England? PORTIA 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, 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. NERISSA What think you of the Scottish lord, his neighbour? PORTIA That he hath a neighbourly charity in him, for he borrowed a box of the ear of the

different persons as he has the character of twenty different people and nothing of his own. If he hates me, I am ready to forgive him: but even if he loves me desperately, I will never be able to return his love.’ Nerissa raised her hand, showing four fingers. ‘Well then, what do you think about Falconbridge, the young baron from England?’ Portia pulled a face. ‘You know I haven’t yet been able to converse with him as we don’t understand each other’s language. He does not know Latin, French nor Italian, and you surely know that I’ve poor knowledge of English. He’s no doubt a handsome man but how do I converse with a man without a language in common? He has an odd sense of dressing. It seems that he bought his waistcoat in Italy, his trousers in France, his hat in Germany while he learned the mannerisms and etiquette from all over the world!’ Nerissa held up five fingers. ‘What is your opinion of his neighbour, the Scottish lord?’ ‘It seems to me that he loves his neighbour, for he was given a blow on the face by the Englishman but did not retaliate, instead he promised to pay him back as soon as he could. I think the Frenchman became his guarantor with another hit on the face of the Scottish Lord!’ Nerissa could hardly contain herself. ‘How do you like the young German fellow?’ she gasped. ‘The Duke of Saxony’s nephew?’ ‘He is devilish in the morning when he’s not drunk and absolutely devil like in the afternoon when he’s drunk. When he’s in his best mood, he’s is not a man and when he is in bad mood, he’s hardly better than a beast. Even in the worst case situation, I hope I will able to avoid getting married to him.’

Englishman and swore he would pay him again when he was able: I think the Frenchman became his surety and sealed under for another. NERISSA How like you the young German, the Duke of Saxony's nephew? PORTIA Very vilely in the morning, when he is 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: and the worst fall that ever fell, I hope I shall make shift to go without him. NERISSA If he should offer to choose, and choose the right casket, you should refuse to perform your father's will, if you should refuse to accept him. PORTIA Therefore, for fear of the worst, I pray thee, set a deep glass of rhenish wine on the contrary 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'll be married to a sponge. NERISSA You need not fear, lady, the having any of these lords: they have acquainted me with their 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

‘If he accepts the challenge and selects the right one, you cannot decline to marry him as it would be breaching the promise you made to your father.’ ‘Therefore, to stop such a thing from happening, I suggest you place a large glass filled with wine on the wrong casket, because I am sure that as long as the temptation of wine is there, even if there were danger in the casket, he will choose that one. I’ll do anything, Nerissa, to escape marrying a drunkard like him.’ Portia’s distress at her quandary and the way she looked at her friend with disconsolate eyes made Nerissa try to comfort her. ‘Madam, there is no need to worry about any of these men,’ she said gently. ‘They’ve let me know their decisions to go back to their lands as they are not comfortable with the conditions imposed (to marry you) by your father.’ ‘I am sure that for someone to fulfil the conditions of my father’s will, I will die as virgin as Goddess Diana though I may live to be as old as the prophetess, Sibyl. (*I prefer to wait for someone to fulfil my father’s conditions and die a virgin even though I may live as long as Sibyl than be married to suitors such as these) I’m thankful to God that these suitors are not going to trouble me anymore and are sensible enough to go away as there’s none among them whom I like. May God grant them a quick return to their homeland!’ Nerissa was thoughtful. ‘Do you remember, madam, the Venetian– a scholar and a soldier– who had come here in the company of Marquis of Montferrat when your father was alive?’ ‘Yes! I remember. I think his name was Bassanio.’ ‘That’s correct, madam. To me he was the worthiest of all men to marry a

the caskets. PORTIA 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 pray God grant them a fair departure.

NERISSA 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? PORTIA Yes, yes, it was Bassanio; as I think, he was so called. NERISSA True, madam: he, of all the men that ever my foolish eyes looked upon, was the best deserving a fair lady. PORTIA I remember him well, and I remember him worthy of thy praise. Enter a Serving-man How now! what news? Servant The four strangers seek for 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. PORTIA If I could bid the fifth welcome with so good a

beautiful lady.’

‘I remember him well and whatever you have said about him is not misplaced.’ Nerissa was about to say something more when a servant approached them. ‘Well? What news?’ said Portia. ‘The gentlemen, who had come to propose marriage to you, want to meet you and bid goodbye before they leave, madam. A new messenger, representing another gentleman – the Prince of Morocco – has also arrived with the information that his master will be reaching Belmont tonight.’ ‘If only I could welcome this new suitor as happily as I am bidding farewell to the last four who are now going away!’ said Portia. ‘With the skin tone of devil, even if the Prince has a saintly character, I would prefer to have him as my priest rather than my husband. Let’s go, Nerissa. Fellow (to servant), go ahead and tell them I am coming.’ She sighed. ‘Hardly have we shut the door behind one set of suitors, when another knocks at the door.’

heart as I can bid the other four farewell, I should be glad of his approach: if he have the condition of a saint and the complexion of a devil, I had rather he should shrive me than wive me. Come, Nerissa. Sirrah, go before. Whiles we shut the gates upon one wooer, another knocks at the door. Exeunt

In this scene we are introduced to the heroine of the paly, Protia, in her home at Belmont. She is seen to be doubtful concerning her future, owing to the strange provisions of her father’s will as to the manner in which she is to be won by the suitor who chooses correctly among the three caskets. But the thread of love romance commences to weave itself into the story, for we see that she remembers Bassanio, and has tender thoughts of him. Much is explained to the audience by means of a conversation between Portia and Nerissa, her clever and witty maid. A number of suitors are mentioned in the conversation, and in them we have a revelation of the various types of European nationalities of that day, as Shakespeare saw them. There is the prince from Naples who can think of nothing but horsemanship, the severe and joyless count from the Palatine, the hot headed and vivacious Frenchman, the Englishman who has travelled all over Europe and borrowed some article of dress from each country he has visited, and the rather unattractive Scot. Shakespeare draws a series of clever little character-sketches, which would give much amusement to his audiences. The scene is in prose, and this identifies the play with the middle period of Shakespeare's works. In his earlier works, he used prose only for the comic dialogues of clowns and other humorous characters. 1. By my troth, Lit. "By my faith!" A mild form of oath which was a common figure of speech in Elizabethan times. 5. surfeit, to be over-fed; to be supplied with anything to excess. 6-7. It is no mean…mean, this is a typical example of Elizabethan wit, when humour was derived from the use of words similar in form but different mean, meaning first "poor or slight;" and secondly, "moderate, of a sufficient amount". So she says, "It is no small happiness to be situated in a position mid-way between poverty and riches." 7. superfluity, "wastefulness," or the man who lives wastefully through excess of luxuries. This is personification. 8. competency, "sufficiency", i.e. the man who possesses just sufficient for a reasonably comfortable life. comes sooner by, obtains more quickly. 9. good sentences, fine opinions; excellent sentiments. 12. chapels churches, a chapel is a church, which accommodates a small number of worshippers. Portia says that if it were as easy to follow out the moral ideal as it is

merely to know about it, then there would be so many worshippers that all the small chapels would have to be replaced by big churches. 13. It is .... divine, he is a good preacher who 13-14. I can easier teaching, the general sense of the words is that to obey instructions is twenty times more difficult than it is to give good instructions. 15. brain, the reasoning powers; the mind. blood, passion; the desires of the body. 17. The law or rule formed by the reason is compared to a fence or barrier, which confines the individual within limits. 17. such a hare…cripple, here madness typifies a reckless young man, while wisdom typifies an old man. The youth is as agile and active as a hare, while the old man is as feeble and slow as a lame man (cripple). 18. in the fashion, of the proper type 20. would, would like; care for. 22. nor refuse none!, this is again an example of Shakespeare's double negative, which is used as being stronger than a single negative. We should expect "nor refuse one." 24. have good inspirations, receive divine guidance, 24. the lottery devised, "lottery" signifies the winning of a prize by drawing numbers or chances at random. The belief in times was that such a method was not decided by chance, but was directed by divine guidance and intervention. 25-29. It has been thought that there is a topical reference in the mention of the "princely suitors" for the hand of Portia. Queen Elizabeth never married, though in her reign she received proposals of marriage from many of the princes and rulers of European countries. It may be that Shakespeare makes his description of Portia's suitors with the intention of reminding his audience of Queen Elizabeth's admirers. 30. over-name, name them over; read over their names. 32. level at, conjecture; arrive at. 35. appropriation ... good part, addition to his own merits. 38. Country Palatine, the Count from the Palatinate. The term "Palatinate" was usually applied to the district on the west bank of the Rhine, though in general it may mean any nobleman. Dr Johnson conceived that this might be a reference to a Palatinate from Poland who had visited England in 1583. But the point is not important, since it can be no more than conjecture. 39. as who should say, just as if he were saying. 39-40. an you choose, this suggests that the Palatinate has an abrupt manner which infers, "If you do not want me, you can do whatever you like. I don't care." 41. weeping philosopher, the old Greek philosopher, Heracleitos of Ephesus, who "wept at everything in the world." 43. death's head mouth, the emblem of a skull with two bones crossed underneath was usually known as a "death's head." It was often carved on tombstones as an emblem of man's mortality. Portia speaks of a different type, of a grinning r skull with a bone in its mouth, just as if it were smoking a pipe. 45. Monsieur Le Bon, literally, "Sir, the Good." The description which Portia gives of this character is a satire on the traditional, affected, vivacious Frenchman. 50. throstle, name often applied to the common English bird, the thrush. 55-62. Portia's description of Falconbridge, the young English baron, is a goodhumoured satire on the typical travelled Englishman of the time. Shakespeare intends to show a certain sturdy national spirit of independence in the young man, who had never troubled to learn the language of other people. The description of the mixed nature of his dress is a shaft at the expense of the young men of fashion in England, who were imitating continental fashions in dress. 59. He is …. picture, he is certainly a man of fine appearances

60. dumb show, knowing no French, the young man had to converse by means of signs. 62. his behaviour everywhere, he had acquired certain manners and customs from all the nations which he had visited. 63. The Scottish lord, his neighbour, in 1603 this was changed into "the other lord The reason for this was that King James I of Scotland had then ascended the throne of Great Britain, and it was thought advisable to change this lest it should give offence to the King. 64. That he hath another, there was great jealousy between Scotland and England at this period, owing to the long wars and numerous causes of quarrel between the two countries. In order to please his audience, Shakespeare makes the Scotsman and Frenchman both deficient in courage, submitting to a blow from the Englishman without having the spirit to return it. 66-67. The Frenchman became his surety, the Frenchman gave an assurance that the Scotsman would pay back the blow he had received. This again is a topical reference which would be well understood by Shakespeare's audience, who were familiar with the history of their own country. The countries of Scotland and France had both been at war with England for hundreds of years, and had frequently entered into alliance with each other against England. This is what is referred to here. 66-67. and sealed under for another, the language is such as would be used to describe the drawing up of an agreement between two countries. The actual document would contain the seal (in wax) of Scotland, while the French seal would also be placed under it. The seal is practically the signature of a country. 71. when he is best, he is at his best. 73. an the worst .... fell, even the worst stroke of fortune that may befall me, I hope, will not be so bad that I cannot manage to get rid of him. 79. Rhenish wine, wine made from grapes grown in the Rhine valley. 79. on the contrary casket, on the wrong casket: the one which is opposite to the right one, 79-81. If the devil … choose, for even if that casket contained the devil himself, he would risk opening it as long as there was such a strong temptation as a flask of wine outside. 82. sponge, this word is still frequently used to denote a drunkard, i.e., one who soaks up or absorbs liquor. 86. some other sort, by some different method. 86. your father's imposition, the conditions imposed by your father. 88. Sibylla, this refers to Deiphobe, the traditional old woman of the ancient Romans. Apollo promised her that she would live as many years as there were grains in a handful of sand which she carried. Here she is used as the type for all old women. 88-89. as chaste as Diana, the classical goddess Diana is always used as typical of chastity. She was the goddess of hunting, and also of the moon. 90. parcel of wooers, crowd of suitors. 91. dote on, long for. 95. Marquis of Montferrat, this was the title of a high-born Italian nobleman, who would possibly be known by name in England at this time. 96. Yes, yes…called, it will be observed that Portia's interest is awakened at once by the mention of Bassanio. Her manner here should be compared with the attitude of satire and mockery with which she heard of the other suitors. Shakespeare shows her as already in love with Bassanio, or, at least, highly eager to hear of him. 103. The four strangers … leave, we have already been told of six suitors staying at Belmont, and it is strange that only four are mentioned here. The most probable explanation is that two of the six were added to the play at a later date, and this line was not altered to correspond with the change.

104. forerunner, literally one who runs before to announce the coming of his master; an advance courtier. 109. The condition of a saint…devil, a saintly character combined with a black colour. The Elizabethans were accustomed rather to seeing negro people than Moors, and the black skin of the pure negro was by no means admired. There is no reason to think Shakespeare at all narrow in his views on colour. His character of Othello contains as much nobility and high-mindedness as is to be found in any characters throughout all his plays. 110. I had rather ... wive me, I would rather have him as my priest, to administer spiritual comfort, than as a husband.

Act 1 Scene 3 Bassanio knew exactly where to go – a money-lender who, he thought, would, for a price, immediately produce the money. It would probably be more expensive than from any other source but it would all be done discreetly –no-one would have to know about it. It would be worth it because he was almost certain to be successful in his Belmont project and the money would be repaid without any fuss. He entered the dingy streets of the Jewish quarter and knocked on the door of the biggest house in the district. Shylock was at home and he came out to him. Bassanio came straight to the point. SCENE III. Venice. A public place. Enter BASSANIO and SHYLOCK SHYLOCK Three thousand ducats; well.

‘Three thousand ducats,’ said Shylock. He nodded thoughtfully. ‘Well…’

BASSANIO Ay, sir, for three months.

‘Yes, sir, for three months.’

SHYLOCK For three months; well.

‘For three months.’ Shylock nodded again. ‘Well.’

BASSANIO For the which, as I told you, Antonio shall be bound.

‘As I have already informed you, Antonio will stand guarantor for the money.’

SHYLOCK Antonio shall become bound; well.

‘Antonio will guarantee it. Well…’

BASSANIO May you stead me? will you pleasure me? shall I know your answer?

‘Are you willing to lend the money? Will you give the money? What is your answer?’

SHYLOCK Three thousand ducats for three months and Antonio bound.

Shylock was thoughtful. He spoke slowly, ‘Three thousand ducats for three months and Antonio will be the guarantor…’

BASSANIO Your answer to that.

‘Yes, yes,’ said Bassanio impatiently. ‘What’s do you say to that?’

SHYLOCK Antonio is a good man.

‘Hm. Antonio is a good man.’

BASSANIO Have you heard any imputation to the contrary?

‘Did you hear any accusation that he is not good?’

SHYLOCK Oh, no, no, no, no: my meaning in saying he is a good man is to have you understand me that he is sufficient. Yet his means are in supposition: 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 England, and other ventures he hath, squandered abroad. But ships are but boards, sailors but men: there be land-rats and waterrats, 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.

Shylock laughed. ‘Oh no, no, no, no, no! When I said that Antonio is a good man, I just meant that he is wealthy enough to stand guarantor for a loan. But as we all know that his wealth is dependent on his ships which are at sea and therefore at risk. One of his ships is bound for Tripoli, another for the Indies. Moreover, I have come to know at the Rialto that a third is in Mexico, a fourth is sailing for England and several others spread all around the world. We all know ships are made of wood which makes them fragile and sailors are mere mortals. As there are water rats and land rats, so there are land thieves and water thieves i.e. pirates. Moreover, there is always the dangers of waves, storms and rocks. Despite all that I am sure Antonio is sufficiently wealthy. Three thousand ducats. I think I can give the loan against his guarantee.’

BASSANIO Be assured you may. SHYLOCK I will be assured I may; and, that I may be assured, I will bethink me. May I speak with Antonio? BASSANIO If it please you to dine with us. SHYLOCK

‘You can be sure of that!’ ‘I will make sure I can. And then I’ll think it over. May I talk to Antonio himself?’ ‘Of course! Come to have dinner with us and you can meet Antonio there.’ Shylock’s eyes narrowed. ‘Yes, I am not ready to smell or eat pork - the meat of a pig in whose body your prophet Jesus cursed the devil into. I will buy from you, sell to you, talk to you, walk with you, and everything else but I cannot eat with you, drink with you or pray with you.’ He

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 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 BASSANIO This is Signior Antonio. SHYLOCK [Aside] How like a fawning publican he 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, If I forgive him!

BASSANIO Shylock, do you hear? SHYLOCK 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

was suddenly smiling again. ‘What’s the latest news from the Rialto? And who’s that coming here?’ Antonio was thoughtful thinking where he might get the money as he was coming down the street. ‘It’s Signor Antonio!’ said Bassanio. Antonio came and spoke to Bassanio while Shylock looked at him with disgust in his eyes. He said to himself, ‘Antonio looks just like the hated Roman tax collectors (who were hated everywhere for the cruelty with which they collected taxes). Surely I hate him as he is a Christian but I hate him more because he lends money to people without interest and thereby bringing down the rates of interest in Venice. If ever I get an opportunity, I will satisfy my vengeful spirit and gratify the long standing grudge that I bear towards him. He hates us, Jews and abuses me even at the Rialto in front of all the traders and merchants and speaks ill of me, my business and my hard earned profits which he derides as interest. If I forgive him, may God curse me and my Jewish race. Shylock was so engrossed in thought that failed to realise that his visitors were standing beside him and talking to him. ‘Shylock, can you hear?’ Bassanio was saying. ‘I’m calculating…,’ said Shylock. ‘As far as I can see, I don’t have the amount of three thousand ducats immediately with me. But it is not a problem as I can get it from Tubal, a Jew like me and wealthy. But wait. I need to know for how long you need it? Showing courtesy to Antonio, he said, ‘How are you, sir? We were just now talking about you.’

Antonio said to Shylock in a not too friendly tone, ‘Shylock, as a rule I do not give loans or take loans against interest

months Do you desire? To ANTONIO Rest you fair, good signior; Your worship was the last man in our mouths. ANTONIO Shylock, although I neither lend nor borrow 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 ye would? SHYLOCK Ay, ay, three thousand ducats. ANTONIO And for three months. SHYLOCK 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. ANTONIO I do never use it. SHYLOCK When Jacob grazed his uncle Laban's sheep-This Jacob from our holy Abram was, As his wise mother wrought in his behalf, The third possessor; ay, he was the third-ANTONIO And what of him? did he take interest? SHYLOCK 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

but my friend here (pointing to Bassanio) is in need of money and so I will break my rule to help him.’ Turning to Bassanio, Antonio asked him, ‘Have you told him of the amount you require?’ ‘Yes, yes,’ said Shylock. ‘I know its three thousand ducats.’ ‘And for three months,’ said Antonio. Shylock acted innocent, ‘Yes, yes, you had told me but I’m sorry I had forgotten. It’s for three months. And you shall stand guarantee. Okay, let’s see… But you see, you said just now that you neither lend nor borrow against interest.’ ‘Yes I don’t. For me, it’s a matter of principle.’ Shylock said, ‘You see Jacob, the son of Isaac - the son of Abraham, - the third descendent from Abraham - used to graze his uncle Laban’s sheep – as per the arrangement made by his mother.’ Antonio became impatient. ‘Why are you telling me this? Do you want to say he took interest?’ ‘No, no, that is not what I am trying to say,’ said Shylock. ‘He did not take interest directly. Listen, I will tell you what he did. He and Laban agreed that all the new-born lambs with spots on them will be Jacob’s as wages and thus belonged to Jacob. By God’s blessings, Jacob became rich in this way. I believe as long as men don’t steal, any money earned is a blessing.’ ‘You see, it was a job that Jacob did for his uncle,’ said Antonio ‘and in return he was to earn. That he was successful is because he was blessed by God. Are you trying to justify your interest taking business? Or do you mean to say that your gold and silver are ewes and rams?’ ‘I can’t say that. But it seems my wealth

Should fall as Jacob's hire, and those were Jacob's. This was a way to thrive, and he was blest: And thrift is blessing, if men steal it not. ANTONIO This was a venture, sir, that Jacob served for; 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? SHYLOCK I cannot tell; I make it breed as fast: But note me, signior. ANTONIO 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: O, what a goodly outside falsehood hath! SHYLOCK Three thousand ducats; 'tis a good round sum. Three months from twelve; then, let me see; the rate-ANTONIO Well, Shylock, shall we be beholding to you? SHYLOCK 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

grows as fast as the lambs multiplied for Jacob! But, signior, listen to me…’ ‘Remember, Bassanio,’ said Antonio ‘The devil can also quote from the Book of God to justify himself. An evil man who uses the Bible as proof is like a villain with a smiling face and a beautiful apple with a worm eaten centre. Liars almost always have an honest face.’ ‘Three thousand ducats is a large sum of money.’ He starts calculating ‘Let me see..., yes…three months out of a year and so the rate of interest will be…’ ‘Shylock?’ Antonio was impatient. ‘We are waiting for your answer. Are you going to lend us the money?’ Shylock had stopped calculating. ‘Signior Antonio,’ he said. ‘You have often made fun of me, mocked me and ridiculed me for my business practices, the interests I charge against loans and the profits I earn. I have always been patient despite the public humiliation because it is the inherent nature of Jews to accept all sufferings and pain without grumble. You have not only called me an unbeliever and a cut-throat dog (a greedy, merciless man), but also have spit on my Jewish cloak/clothes. And for no reason but using my own money in the manner I know best. And now you need my help. So you come to me and say, “Shylock, we need money.” Thus you, who spat on my beard and behaved with me as one behaves with a stray dog sitting at the doorstep of one’s house, request me for money. How should I behave with you now? Shouldn’t I say, “How can a dog possible have money? How can a mongrel lend you three thousand ducats?” Or do you think I should bend low and in a humble and submissive voice say: ‘Respectable sir, you spat on me last Wednesday; you kicked me on such and such a day; and there was the other time you called me a ‘dog’ and in return for all these courtesies I’ll lend you all that you require”?’

'Shylock, we would have moneys:' you say so; You, that did void your rheum upon my beard 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; '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'? ANTONIO 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 for barren metal of his friend? But lend it rather to thine enemy, Who, if he break, thou mayst with better face Exact the penalty. SHYLOCK 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.

‘In all likelihood, I am going to call you a dog, spit on you and kick you again and again!’ said Antonio. ‘So, if you want to lend the amount, lend it as if you are giving it to your enemy rather than to your friend, because no friend will ever lend money to another friend against interest. Lend the money at whatever interest you think you want and in case I, your enemy, fail to repay you, you can easily demand the penalty.’ ‘O, look at the way you become angry! I want to be your friend and win your respect; forget all that you have done to me in the past like the humiliations and embarrassments and lend you the money you need and that too without interest. But you won’t listen to me. This is what I am ready to offer.’ ‘This is unbelievably kind offer’. ‘I’ll show you how kind I am.’ said Shylock. ‘Come with me to a lawyer. You will have to sign just a small agreement – a kind made between friends and not a serious one – that if you don’t repay me the amount as stated in the contract at the designated place and on the stipulated day, I can take away a pound of flesh from any part of your body as penalty.’

‘I am ready,’ said Antonio ‘I’ll sign the contract and even say that you are kind.’

BASSANIO This were kindness.

Bassanio gripped his arm and took him aside. ‘You mustn’t sign such a contract. I’d prefer to continue in need than let you sign to such an agreement.’

SHYLOCK This kindness will I show. Go with me to a notary, seal me there Your single bond; and, in a merry sport, If you repay me not on such a day, In such a place, such sum or sums as are

‘You need not worry at all,’ said Antonio. ‘There is least chance of paying the penalty. My ships are going to return within the next two months – that’s a month before the termination of the contract – and then I will have at my

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. ANTONIO Content, i' faith: I'll seal to such a bond And say there is much kindness in the Jew. BASSANIO You shall not seal to such a bond for me: I'll rather dwell in my necessity. ANTONIO 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. SHYLOCK O 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 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.

disposal almost nine times the loan amount.’ Shylock showing his exasperation said, ‘Oh, Father Abraham!’ he exclaimed. ‘These Christians are so suspicious. They are themselves so mean and cruel that they suspect everyone to be like them. Tell me,’ he said to Bassanio, ‘in case Antonio fails to repay, what will I gain by taking the penalty? The penalty is a pound of human flesh which is not consumable like a pound of mutton or beef. So what shall I gain out of it. Nothing. So I wish you understand that this is a friendly gesture from my side to gain the goodwill of Antonio. If he (Antonio) accepts the offer I have made, its well and good and if he does not, I wish you goodbye. But my request to you is that you should not misjudge me or my intentions.’ Antonio ignored Bassanio’s attempts to stop him. ‘Shylock,’ he said. ‘Don’t worry, I am ready to sign the contract.’ ‘Then let’s meet at the office of the lawyer without delay and give him the instructions for the friendly contract, and I’ll go and get the money, and also make sure that my house, which I’ve left in the hands of an unreliable careless servant, is safe: and I’ll be with you very soon.’ ‘Goodbye, gentle Jew,’ he said. ‘The Jew is evolving into a Christian by growing the quality of kindness.’

‘Whatever, but I don’t like these so called attractive terms given by a villain like Shylock,’ said Bassanio. ANTONIO Yes Shylock, I will seal unto this bond. friendly SHYLOCK Then meet me forthwith at the notary's; Give him direction for this merry bond, And I will go and purse the ducats straight,

‘Come on,’ said Antonio, taking Bassanio’s arm. ‘You need not worry. My ships will be back long before - a month before the deadline.’

See to my house, left in the fearful guard Of an unthrifty knave, and presently I will be with you. ANTONIO Hie thee, gentle Jew. Exit Shylock The Hebrew will turn Christian: he grows kind. BASSANIO I like not fair terms and a villain's mind. ANTONIO Come on: in this there can be no dismay; My ships come home a month before the day. Exeunt The action of this scene is in Venice again, and we are introduced to the rich Jew, Shylock, one of the most remarkable and complex characters Shakespeare has created. In order to obtain money for Bassanio's expedition, Antonio pledges himself to the Jew, in the remarkable bond which supplies so much of the incident of the play. The manner in which Shylock deceives Antonio by pretension of friendliness and frankness is arranged skilfully. We are shocked to hear of the treatment which Antonio has been in the habit of meting out to Shylock, spitting on his beard and footing him like a strange cur. It is not altogether strange that Shylock should now be plotting so craftily to entrap the merchant who has behaved towards him in such a barbarous manner. But the manner in which Shylock craftily disguises his real feelings, and leads Antonio into the signing of the bond as a harmless joke, is a miracle of devilish ingenuity. An appearance of naturalness is given to the whole proceedings, and we do not feel that there is any improbability in the usual bond. Antonio is confident that all his ships will arrive home long before the bond is due, and Shylock craftily suggests, though he does not say in actual words, that the penalty would not be exacted, even in case of non-payment. Shakespeare has been at great pains to draw a striking picture of the hated Jewish money-lender of the later middle-ages. Very artistically Shakespeare has linked the casket Story and the Bond Story in this scene. From here onwards the plot gathers momentum, heading towards the climax. If Antonio had not executed the bond and borrowed money from Shylock, Bassanio would never have been able to go to Belmont, as we learn later on. The memorable character of Shylock is presented as a figure who is provoked into revenge by Christian intolerance; he pursues this revenge with inflexible courage and steadiness of purpose. He is farsighted and of a calculating nature Jew, who will not lend interest-free money to Antonio without any specific motive. The Bond Story which otherwise would appear very improbable is lent probability by Shakespeare. Shylock has good reasons for usury and for his hatred towards Antonio, who had spit the former on the beard and labelled him as the one worse than a dog. Shakespeare's audience would certainly have been favourable towards Antonio and would have regarded Shylock as a mere parasite. We also learn something of Antonio’s bile, the black and angry side of his melancholy. We also learn from this scene the hatred Christians had against usury which was regarded as a heinous crime. We also find that like Antonio, Shylock is quick to anger, but Shylock knows to smile and where to be polite and angry which Antonio does not.

In painting the most controversial character of Shylock, Shakespeare gives us the popular view of the Jew of his day. Antonio’s just indignation is natural and understandable, and so is Shylock as his own worst enemy, poisoned by greed and hate. Line 1. Three thousand ducats—Bassanio tells Shylock his need of a loan. He demands from him three thousand gold coins. Ducat—was the word used for a sum of money in Italy. In those days three thousand ducats meant a huge sum and this leads Shylock to think seriously over it. Well. . . Shylock hears Bassanio’s request and makes a mental note of it or perhaps he is writing it. Line 2. Ay Sir—Yes sir. Note a Christian addressing a Jew as sir. This shows either the helplessness of Bassanio, or that he is clever enough to say anything to get his work done, i.e. to get the loan. Line 4. Antonio shall be bound—Antonio shall stand a legal surety for the money loaned to Bassanio. Line 6. Shylock also repeats the words uttered by Bassanio, as he is very proud that Antonio needs his help. Lines 7—8. May you stead me … your answer? - Will you please assist me and gratify me with the much sought after loan: May I please know your mind? The first idea of revenge is springing in the mind of Shylock. He very slowly and cunningly views the pros and cons of giving loan to Bassanio. Even when Bassanio almost loses patience, Shylock, hard hearted as he is, is unmoved. Lines 9—10. Three thousand ducats—Antonio bound—Shylock's scheme of-revenge is the sudden outcome of the words, "Antonio shall be bound." He is busy imagining some plan. as Bassanio goes on speaking. Line 11. Your answer to that—What is your answer to the proposal that I have laid before you? Whether you are willing or not to lend the amount. Line 12. Antonio is a good man—Shylock very casually remarks that he knows Antonio is financially very sound: one to be relied upon to meet his liabilities. Bassanio understands 'good as referring', to the character of Antonio, as is evident from the next line. Lines 13-14 Have you heard . . . contrary? —Bassanio feels the word 'good' uttered by Shylock is an attack on Antonio's character. Therefore, he asks Shylock if he has heard any such allegation that Antonio is not a good man i.e. he does not enjoy any good reputation. Lines 15—16. Ho, no, no, Shylock at once says that Bassanio misunderstood him. His four times saying the word no means that Bassanio should not doubt his intentions, which we know, of course, are malafide. Are in supposition—Cannot be taken for reality, cannot be wholly relied upon, since all his money Antonio has invested on the ships that are presently in the sea. My meaning in saying. . . are in supposition—Shylock explains to Bassanio that his meaning of 'good' is in a commercial sense. And yet he remarks, though Antonio has means, his wealth is at present highly insecure. Lines 17—21. He hath an … he hath squand’red abroad. Tripolis—lt is in Africa on the Mediterranean. Rialto—The greatest port where merchants would meet for the exchange of their goods. Shylock, it seems has an exact knowledge of the business of Antonio. He tells Bassanio that no doubt Antonio is a rich merchant but he has invested his everything on ships that are in the different seas heading for various ports to sell goods. As such the whole money is in danger. Lines 21—24. Ships are but boards—You can never trust the ships, they are made of wood and can be wrecked any time. Sailors but men -- Human beings are mortals, and who knows, when they breathe their last. gain something you can't depend upon.

Peril of waters —There is always the danger of water, because of the sea tides. Shylock emphasises upon Bassanio, that no doubt Antonio is a wealthy man, but at the moment all his wealth is exposed to risks in the ocean. These ships are made of planks of wood and liable to disaster any moment. So is the case of sailors who might fall into the hands of huge waters or some sea robbers might attack the ships or do away with everything. When he says land-thieves. perhaps he indirectly mentions his own-self because if the loan is not returned in time, he might further wreck the life of Antonio. Lines 24--25. The man is . . . Sufficient—Nevertheless, Antonio. in spite of the imprudence of his investments, will serve the purpose of standing as a security. Line 26. I think I may take his bond—I think therefore it would not be a great risk accepting Antonio as a surety for a loan of three thousand ducats Lines 28--29. I will be assur'd ... may I speak with Antonio? — I will think over the proposal of lending a loan and shall make sure before accepting Antonio as a security, but for that I think It would be better if l speak to Antonio personally. After all Shylock is a Jew and a Jew in the literal sense of the word is a person who finds it hard to part with money. He sought for a meeting with Antonio to make sure about the bond. He as a matter of fact wanted to show Antonio that he was doing a great act of generosity by lending out so huge a sum. He wanted to satisfy his ego but more than that the heinous plan that was working in his mind. A critic feels that at the outset Shylock had not only no thought of revenge or any sinister motive but he wanted to conciliate the royal merchant Antonio. Line 30. If it please. . . dine with us—Bassanio in a very courteous manner invites Shylock to have dinner with them, where they could discuss elaborately about the loan and also Shylock would meet Antonio. Line 31. Yes, to smell Pork-You want me to dine with you in order that I may have the pleasure of smelling pork with you. Note here that all Shylock's racial and sectarian prejudice is now up in arms and he rejects with contempt the invitation. Lines 31—32. To eat of the devil into—In the Bible of Christ (the Nazarite) there is a story compelling certain evil spirits to come out of two men, whose bodies they had entered. Then the evil spirits asked Christ to allow them to enter into the bodies of a herd of swine and He allowed them to do so. By habitation—means the body of the swine The Jews regard pork as an unclean and prohibited food. Shylock is very proud of his race and his religion. Nazarite —Christ belonged to Nazareth. The word 'Nazarite' here stands for 'Nazarene' Lines 33—35. I will buy . . . nor pray with you—Shylock is a very shrewd businessman. He however has business dealings with the Christians, but will never like to offer his prayers even together with the Christians. Lines 35—36. What news on the Rialto--Shylock did not want to be very friendly with Bassanio. He switches over the topic again to business, very inquisitive to know the latest news from Rialto—The greatest sea port for exchange of business. Line 37. This is Signior Antonio—Bassanio announces the arrival of Antonio, whom Shylock wanted to meet before lending the loan Line 38. A fawning Publican— the phrase is an odd combination. Publican means 'taxgatherer', who on behalf of Roman rulers would extract tax out of the Jews and the approach of a publican was a very contemptuous sight for the Jews. Fawning usually means ‘servile' or 'cringing'. Antonio is characterized by 'love' and 'sadness'. The epithet fawning is, therefore, a malicious interpretation of his meek obliging charity. Shylock has a bitter contempt for Antonio. Fawning is used by Shylock for Antonio; for publicans were far from 'fawning'. They were disposed. on the contrary, to bully the Jewish tax-payers in a very cruel manner. Reference here is to the Holy Bible where the Jews would protest to Christ's disciples, "Why eateth your Master with publicans and sinners?" As the Clarendon editor tells us, the publicans "were much more likely to treat the Jews with insolence than servility."

Shylock, when he calls Antonio a fawning publican, has in his mind the publican of the parable in the Bible (Luke: 18) given by Jesus Christ to show how "every one that exalteth himself shall be abased and he that humbleth himself shall be exalted." In this parable we are told how men, a Pharisee (Jew) and a publican went together in a temple to pray—The Pharisee only prided himself on his virtues and standing with his head erect said: "God, I thank thee, that I am not as other men are, extortioners, unjust adulterous, or even as this publican." He was proud of being a true devote of God and that he loved brotherhood. But the publican stood with his eyes lowered in humility, smote his breast in repentance and uttered, "God be merciful to me a sinner." Line 39. I hate him. . . a Christian—Shylock has his own peculiar reason for not liking Antonio. The grounds on which he charges Antonio are a curious mixture of motives: religious, national and commercial. He hates Antonio primarily for that he is a Christian, because in Elizabethan days Jews were looked with an eye of malice. The mere sight of Antonio annoys Shylock. Line 40. Low simplicity—contemptible foolishness, because Antonio's good nature also did not appeal to Shylock. Lines 41—42. He lends out … us - to Venice. Usance—rate of interest charged on the money loaned. The Jews in Venice would very heavily charge the interest and they were so treacherous to eat into the vitals of the person, if the loan was not paid back in time. Shylock hates Antonio for he gives out money to businessmen in Venice without any interest and so the rate of interest charged by these Jews was not approved of by others there. Commercially Antonio’s money was a threat to the greedy business of Shylock. Line 43. Catch him upon the hip—A metaphor from wrestling, where if the Opponent caught from the hip would find it hard to get out of the grip of the other competitor: get him at a disadvantage. Line 44. I will feed fat … I bear him—lf l ever get him into a difficulty I shall fully gratify the long standing hatred I have borne against him. Note here the working of Shylock's brain, how he plans to entangle somehow Antonio in his web. Line 45. Hates our sacred nation - Hates the Jews and the holy nation we belong to. The Jews considered them to be God's people. Line 46. Congregate—an assembly of people at a religious ceremony. But here Shylock means the Venice market and also Rialto where merchants from far and wide come for business. Lines 47—48. On me, my bargains ... which he calls interest—Shylock is shocked when Antonio openly abuses him in the Venice market where all other merchants witness it. Antonio calls Shylock a debased man because of his riches, his business transactions and his hard-earned money which he calls interest. Lines 47—49. Cursed be...forgive him! —Scornfully Shylock pledges in the name of his whole Jewish race to take revenge upon Antonio. Detailed Explanation of Lines (38—48) We are made to peep into the inner mind and life of Shylock in these lines. Shylock is presented here as a shark who very ironically comments on Antonio's humility which appears to him to be feigned like that of a publican. Shylock hates Antonio on religious, professional, national and personal grounds. Shylock hates Antonio, for the latter is a Christian. Secondly, the Jew is a money-lender and Antonio brings down the rate of interest by lending money without any interest whatsoever. This is painfully ruinous to the Jew. In those days, however, religious toleration and taking interest for money were looked upon as sinful, and this sort of treatment of the Jews was accordingly upheld as a Christian duty and a Christian virtue. Now from the individual cause Shylock comes to the national. Antonio hates the Jewish nation which is according to the Jews themselves, peculiarly favoured by God. Even on the Rialto and

in the presence of the merchants gathered there Antonio would hurl abuses at Shylock for the money he had collected by charging interest on the money he loaned. Shylock swears by the whole Jewish race to take revenge upon Antonio whenever any ripe opportunity came. Ground is prepared through these lines for how Antonio is entrapped by Shylock whose mind is very cunningly working on these lines. Line 49. Shylock hear? —Shylock is pretending for not having come to know of Antonio’s arrival. It could also be that Shylock is in a fit of abstraction, from which he has to be recalled. Line 50. I am debating store - I am mentally taking stock of my resources, calculating how much I have. Lines 51—53. And by the near thousand ducats-- As far as I can recollect (Only a rough figure because he is calculating mentally). I do not have the resources enough to raise the whole amount of three thousand ducats Line 53. What of that—But Bassanio should not worry on any score. That does not matter. Lines 54—55. Tubal—name of one of Shylock's Jew friends. Tribe - "the Hebrew race was subdivided into twelve tribes, so that the word must here mean one of those twelve to which Shylock belonged, and not the whole race." The use of the word "my race" implies clearly the pride Shylock has in his race and his religion. But soft—but wait for a moment. Shylock takes a malicious pleasure in prolonging the interview thus unnecessarily torturing and embarrassing the needy Bassanio. Because how can a Jewish money-lender like Shylock forget the duration of three months of which he has thrice been told in the beginning. Line 56. Rest you fair good Signior—May God keep you in peace and prosperity! Shylock knew Antonio had already come, but he pretended not being aware of it before. Lines 57—58. Your worship was the last ... mouths—we were just talking about you. Albeit I neither … excess—Antonio sounds Shylock of the neat policy adopted by the former in giving money as a loan. Antonio tells him that he has neither taken any excess from his debtors, nor has he given any extra sum to his creditors. He does not believe and appreciate the practice of money lent on interest. Line 61. Break a custom-- I shall depart from usual practice and give you interest. Is he yet possessed ... Antonio asks Bassanio if Shylock is in the know of the amount they need. We know Shylock thrice made it utter from Bassanio the word three thousand ducats. Line 62. Ay, ay. . . ducats—Though the question is asked from Bassanio, it is Shylock who replies Shylock's answering a question that is not addressed to him makes him, as it were. swallow the slight Line 65. Well then ... you—Shylock like any other money-lender before his clients is in his elements, and talks in a tone of bargaining; he thinks of the bond but before he finished with that point, he deviates and enters into a discussion about charging interest on the money loaned. Me thought ... upon advantage—Shylock is now prepared to lend the money, but the question is that Shylock is not going to let the money out without any interest. Line 68. Jacob went to serve for a time under his uncle Laban. A bargain was made between Laban and Jacob. Jacob fled to his uncle to escape his brother's wrath. As per bargain, Jacob would serve as a shepherd to all his uncle's sheep and as a token of his services, would get all the lambs which were born with spots or stripes. When the breeding season arrived Jacob placed partly coloured rods before the stronger ewes, so that their minds might be influenced by the sight of those rods that they would all give birth to lambs with spots or stripes. And it so happened. Jacob played a trick with his uncle, who gave him shelter and got more than his share.

Line 70. As his wise mother in his behalf - Jacob's mother Rebecca very cleverly obtained the blessing of his (Jacob's) blind father Isaac, which was meant for Esan, the elder son. Isaac loved Esan more and wanted to bless him before his death, so he asked Esan; (who would prepare for his father very delicious meat) to bring him savoury meat before he would give his blessing. This conversation was over-heard by Rebecca who instead of Esan sent Jacob with meat prepared by her. Thus Jacob secured the blessings of his father through the clever manipulation of his mother. Abraham—was the founder of the great Hebrew race Line 71. The third possessor —Thus Jacob who was next to Esan (Reference to explanation of line 68) became the third successor. Comments on Lines (66--69) Shylock tries to impress upon Antonio that if people could be blessed in Heaven even for usury, he would also be blessed, since he is also following a neat line. Line 72. And what. . . take interest? - And what did he get by relating this whole story. because the loan and the story cited from the Bible. feels Antonio have nothing to do with each other. Lines 73—74. No, nor take interest … directly interest — Shylock has his own plans and he prepares to execute them by relating a story from the Bible. When asked by Antonio, if Jacob also charged interest just to humiliate Shylock, the latter tells Antonio, that Jacob did not take interest in the exact sense of the term, but the manner Jacob adopted was like charging interest. How, this we learn in the speech of Shylock that now follows. Fall as was blest—Shakespeare's plays usually have echoes of the Prayer book "Bible". Shylock justifies his stand as moneylender who lend money to people on high interest rate. For this he cites a Biblical tale. Jacob third in line of succession from our holy Abraham served as a shepherd for his Uncle Laban's sheep. His uncle Laban told Jacob that as a remind for his services rendered Jacob can have the spotted and stabbed lambs born to the sheep. The clever Jacob took pieces of wool and removed their bark and stuck those pieces of wood in front of the mating sheep and as a result they delivered lambs streaked and spotted. Jacob claimed these lambs as his reward. This was a way to become rich and he was also blessed with good fortune. And wealth is a blessing provided people do not steal it. Jacob in a way took advantage of his uncle Labatt and thereby made profit, so may a money-lender take advantage of another man's embarrassment by requiring him to pay interest on a loan. Line 79. And thrift is blessing it not—So says Shylock that the gain made by any means short of actual stealing is blessed by God. As Jacob got his reward (may be by cheating) in the breeding of his sheep, similarly Shylock is justified in the taking of interest by the argument that he has put forth. Jacob also took a chance of placing rod before the sheep, and there was no surety whether he would win in his efforts or not, similarly there is a risk in lending money to Antonio, but to cover a part of it, Shylock takes a chance and so feels interest on the amount loaned, is a must. Line 80. This was a . . . serv'd for-—Antonio refutes the analogy of Shylock and feels that Jacob's good fortune was not as much the result of his trick but he laboured as a servant and got the wages for his efforts. Lines 81—82. A thing. . . of heaven—No effort of his could have secured the profit that fell to his share, because the event of the newly born lambs having strips and spots was entirely at God's will. This was beyond the power of any human being. Line 84. Or is your gold. . . rams? — Antonio asks Shylock if the latter regards his gold and silver as sheep and lambs. Sheep breed, so is the law of nature and multiply the number, but such is not the case with money. Line 85. / cannot tell. . . but note me signior—l cannot express my opinion whether I can make money as fast as the breeding of rams, but you will note what I say. Shylock will listen to no arguments because he must charge interest for the money he would loan.

Line 87. The devil can cite . . . for his purpose—Shylock has been trying to justify usury by quoting the story of Jacob from the holy Bible. Antonio points out that it is not very surprising that a wicked man can quote Scriptures to attain his motive. Devil —Reference is here to Satan, who quotes Scriptures in temptation of Christ. The Devil tempts Christ to throw himself down from the pinnacle of the Temple of Jerusalem assuring him that he could do so safely because it is written, "He shall give his angels charge concerning thee.” We note here that even when asking for a favour from Shylock, Antonio does not stop hurling abuses and calls him a devil and says that a villain can defend his wicked motive by a religious quotation. Line 88. Ali evil soul . . . witness—A depraved person producing the testimony of the Bible. Line 89. Is like a villain . . . cheek—a villain who covers his wickedness with a smile. Line 90. goodly apple heart—an apple very lovely to look at but the core of which is all rotten. Line 91. O what a goodly hath—How good and friendly and sincere you look outwardly but your heart is full of malice and treachery. Antonio here brings to the forefront the hypocrisy of Shylock in employing the holy Scriptures to see his plans executed. Antonio is not as wise as the cunning Shylock is and even at this moment when he needs a loan from Shylock, abuses him, as "devil', "villain", "a rotten apple", and thus provokes him. He labels Shylock as a hypocrite who is like a villain with a smiling face, which does not represent his true character but is a deceitful colouring. He is like an apple that looks ripe from outside but is rotten when cut, showing the treachery and malice in Shylock's heart. As such Shylock could not be depended upon for what he says. Lines 92—93 Three thousand…see the rate-—Shylock who has been pretending to be busy calculating the interest on such a huge amount, has in fact. heard the infamies hurled upon him by Antonio, and now he only needs a spark to burst out with what he feels about Antonio. He says here that since the money is to be loaned for three months out of twelve, i.e. the year, he calculates the rate of interest, which critics tell us was ten percent for the whole year. Line 94. Shall we…to you? —Should we be obliged to you for lending us this amount and then charging such rate of interest. Antonio, as we have known earlier also hated Shylock for charging interest on the money lent. was regarded by the Christians as something loathsome. Line 96. Rialto—The greatest port of Venice for business transactions. Line 99. For sufferance…our tribe—Because it has become a common characteristic amongst we Jews to bear up all the wrongs and persecutions patiently. Badge—characteristic. From this line uttered by Shylock it is quite evident that in those days the Jews were ill-treated by the Christians. Line 100. Misbeliever - Christians felt in those days the Jews did not believe in Christ. So says Shylock that Antonio often called him an unbeliever, an infidel. Cut-throat dog—As debased as a dog Antonio calls Shylock a cruel money-lender who charges murderous rate of interest Line 101. Jewish gaberdine--A peculiar type of robe (long coat) worn by the Jews in those days and Antonio's spitting' on it would mean a direct insult to Jewish nationality. The Jews of Venice, however, had no distinctive dress except a yellow cap Line 102. And for all use. . . mine own—You treat me so ruthlessly because I charge interest by lending money, which is mine. How do you concern yourself with my business? Line 103. You need my help. Now you need my help. Shylock underlines with bitter irony, Antonio's character, who now has come to that person for help whom he had been openly abusing.

Line 106. Did void you rheum—You spat on me; water discharged from your mouth. Line 107. Foot me—Treat me, call me, regard me: kick me. As you Spurn a Stranger cur—You kicked me as you kick a street dog. Shows the agony that is there in Shylock's heart for the treatment he was meted out by Antonio. Line 108. Over your threshold—At your place. Moneys is your suit—the object of your petition is moneys. The word is quoted again, in contempt from Antonio's request. It is quoted, and hence the singular verb with it. Or perhaps 'moneys' may be regarded as a collective, on the false analogy of 'riches'. In support of this compare "thus much moneys" in line 124 below. Line 109. What should / say to you? — What after all can you expect out of me after treating me like that. Shylock is in a mental agony. He just does not find words now to give vent to his feelings of contempt that Antonio has aroused with this ill-treatment. Line 110. Hath a dog - How can a dog have money? Line 111. A cur can lend three thousand ducats—How can a dog lend such a huge amount of three thousand ducats? Line 112. Shall I bend low' —Now do you expect me to bow down before you? A bondman's key—A low voice like that of a slave. Key—tone. Line 113. With bated breath—By controlling my breath even, that is, when slave bows before a master, he speaks in a very low tone, as if he were out of breath being afraid of his master. Whisp'ring humbleness—ln a very humble manner. Lines I l 7—118. And for these courtesies…moneys? — Shylock with grim humour and irony uses the word, Courtesies. What Shylock means is "indignities" "insults". Antonio had always treated him with contempt, spat his beard and clothes, and insulted him in the business centre of Rialto, reproached him for his usury, called him a dog, and now both. Antonio and Bassanio approach him for a loan. How can they expect any goodness from Shylock? After all he also has self-respect. Still, feels Charlton, that Shylock's attempt was to touch Antonio's heart and lead to an offer of friendly accommodation. In this speech of Shylock, we feel him vomiting out the venom (poison) of his uncompromising anger which was because of the wrongs and insults suffered by him at the hands of Antonio. Shylock, Shakespeare intended to present as a wicked character and Antonio as a good and virtuous man. But as Shylock with all the agony and pain tells us how Antonio heaped indignities and insults on the Jew, we naturally feel inclined towards Shylock and his motive of revenge seems to us a very natural act. Antonio seems to be quite unfair towards Shylock and by his such remarks he is inviting the impending danger. Line 119. I am as like to call thee so again—It is quite possible that I might again label you with all such titles, that is I may again abuse you. Line 120. To spit on thee . . . spurn thee too—I might again spit at you and exploit you. Antonio is quite frank about his treatment towards Shylock; he admits it, and offers no regrets. Mr. Goddard an American critic has very beautifully summed up these two lines. He feels that Antonio is jealous of Shylock because in Shylock, Antonio catches a reflection of himself. Both are merchants and both live on profits. Lines 121—122. If thou ... to thy friends—lf you do not want to give the loan as helping a friend, consider that you are giving it to your enemies, because no friend would ever lend money at interest. Lines 122—123. For when did . . . of his friend? — When Antonio says, 'When did friendship', he means, when was there any friendship between him and Shylock. The word ‘breed' also has been previously used which means offspring. Interest claimed for money lent is regarded as the offspring of that money. Again 'Breed' and 'Barren' are two Opposite words. Money is termed here as barren metal, which means something which cannot further produce anything. 'Friendship' stands for a person

who is friendly. Antonio feels it is a heinous crime to make money breed—a process which is common among animals. Line 124. But lend ... thine enemy - Antonio is very plain in his slashes on Shylock even when he needs money. He asks Shylock to lend money as an enemy, if not as a friend, Line 125. Who if breaks … the penalty - Who if he fails to keep the terms of the contract, with an easier conscience realise the forfeiture named in the bond. Antonio under no circumstances wants to feel obliged to Shylock. He asks Shylock to treat him as an enemy and this is what Shylock had been all along planning. Thus, starts the bond-signing story which later on puts Antonio in trouble. Line 126. Why look how you storm! — Why are you looking so enraged as a very furious storm is? Shylock asks Antonio to take it easy and not get angry. Lines 127—128. I would be … stain’d me with - Shylock realises that in his bitterness he has gone too far and may lose the chance of avenging himself on Antonio. He at once changes his attitude and in a very false friendly tone tells Antonio how he still considers the latter as his friend, in spite of the acts of shame and humiliation from Antonio that made Shylock feel disgraced. Line 129. Supply your present wants … no doit—l shall give you the money to meet your necessities and shall charge no interest. doit—a copper coin. Line 130. And you'll not … I offer—Shylock, the cunning Jew only apparently shows his kindness as an act of friendship telling Antonio that he shall not ever make any mention of his amount loaned without interest and shall never think he has done any favour to Antonio but only friendship. Line 131. This were kindness—This would really be kind if it were true. Bassanio does not believe that Shylock is serious in his offer because a Jew not charging any interest was something more than a surprise for him. Bassanio is all ignorant till now of the working of the mind of Shylock who behind this kindness has an evil plan. Lines 132—133. This kindness . . . to a notary—I can offer this kindness provided you accompany me to attorney. Lines 133—134. Seal me there your single bond—You will sign that single bond—a bond signed and undertaken by one man only, i.e. signed by Antonio alone. This proposal seems a concession on Shylock's part, but it is meant to assist his plan for vengeance, since it leaves no second security to be called in the case of Antonio's failure to return the money in the time limit fixed. Line 134. In a merry sport—Just by way of jest. Shylock has very heinous plans when he asks Antonio to sign this bond, just as a joke. Neither Shylock's intentions are innocent, nor is he feeling like a simpleton wanting to lessen Antonio's hostility to him in the Rialto where men congregate for business. Charlton calls it a poor sort of joke, and adds, "Shylock has had little practice in developing his sense of humour" For Shylock, this is a heaven sent opportunity 'to feed fat his ancient grudge' against Antonio. Lines 135—137. If you repay … in the condition—if you fail to pay me back the amount within the due date at the fixed place as stated in the agreement. I shall be entitled to a penalty. Line 140. Pleaseth me--as it pleases me. Shylock here does not specify from which part of the body he desired to cut the flesh. He is very particular that Antonio should not have any doubts. But later on in the actual document as we come to know in the Trial Scene. it is specified in the bond that he would take flesh from a portion nearest his heart. Line 142. And say … in the Jew—I would consider this as the greatest act of kindness from a Jew. When Antonio agreed to sign such a bond, did he really think that the pound of flesh was meant just as a joke or he took it in all seriousness? Antonio was well aware of his enmity with the Jew and knew that Shylock would exploit the situation. Shylock, as Dr

Furness feels, did not really mean to take flesh, equal to the weight of a pound, but that he wanted Antonio's degradation, humiliation and torture. Line 144. I'll rather. . . necessity—I would rather prefer to live with my needs unsatisfied. Bassanio sees the danger in signing the bond and warns Antonio of the consequences. Bassanio would live in this very state rather than putting his friend's life in danger. Lines 145—148. Why fear. . . of this bond—Antonio who does not suspect double dealings with others, assures Bassanio that he should not have doubts in his mind because he will not incur the penalty. Antonio expected profits from his ventures and even a month before the bond expired he would be in a position to pay many times the amount mentioned in the bond. Line 149. Father Abram—Abraham, the Jewish patriarch was the progenitor of the Jewish race. The Jews bow before him with all the reverence. Shylock's subtle hypocrisy and deception shows itself in that he addresses here his saintly ancestor. Lines 150—151. What these Christians are … thoughts of others—Shylock draws a comparison between the Jews and the Christians. He expresses an affected surprise and regret at Bassanio's suspicion and says that all these Christians are very suspicious. They are very cruel and exacting in their dealings and think others also to be so. Lines 151—153. Pray you tell . . . forfeiture? — Please tell me what am I going to gain even if Antonio fails to pay the required amount at the due time. What shall I gain in cutting a pound of flesh from his body? Line 156. Flesh of muttons, beefs—The distinction between 'sheep' and 'ox' on one side, as living animals, and 'mutton' and 'beef', on the other, as the same animals brought to table, had not become fixed in Shakespeare's time. Lines 157. To buy his favour —To be one of his very favourites; to be a close friend of. Line 158. If he take it so—if he will accept my hand of friendship, it is so very good. If not, adieu—If he doesn't accept this token of friendship, we bid farewell to each other. Line 159. And for my love … wrong me not – And for the love that I have for you, I request you not to torture me anymore as you have been doing before. You should not suspect me. Shylock by charging Bassanio of doubting his intentions, is able to resume an appearance of frank friendliness, while nursing bitter and revengeful schemes. The Jew poses an injured innocence and is surprised at Bassanio’s unworthy distrust. Shylock's speeches are full of allusions to Jewish Scriptures who with all his hypocrisy shows himself to be firm believer in God and the goodness of mankind. He declared that he had no intention to enforce the clause demand pound of Antonio's flesh if the latter failed to pay back the amount on the date specified. After all, of what use could pound of flesh be to him? The flesh of man was unlike the flesh of animals. He simply wanted to strengthen his friendship with Antonio. If Antonio was prepared for it then he should sign the bond, otherwise the whole bond stands cancelled. Shylock meant as if saying that he wanted Antonio to sign the bond only in the name of friendship. Even if Antonio is not prepared for that, Shylock requests him not to doubt his intentions, Note here the duplicity of Shylock. Line 160. Yes, Shylock ... bond—Antonio is hypnotised into the acceptance of the bond, feeling that Shylock has no malice in his heart now, but only the love and friendship. Line 162. For this merry bond—Shylock reminds Antonio that it is all meant to be a joke, Line 163. Purse—Put in a bag. Straight— go at once, Lines 164-165. See to my house … unthrifty knave – “After seeing a good deal of Shylock as a man of business in this lengthy scene, we here get the first glimpse into

his private, domestic life. It is a loveless, sordid, suspicious, and joyless life; he has a daughter, but he does not leave his house in her charge but in that of his servant boy, who, therefore, is a watch, not only over the house but over the daughter; he trusts his daughter less than his servant; and he trusts his servant very little." Fearful guard—a guard that is not to be trusted but gives cause of fear: or a guard who is too timid to resist thieves. Shylock is referring to his servant Launcelot Gobbo who appears in Act Il, scene Il. Unthrifty knave — “ln Shylock's eyes the worst of all vices is want of his own greatest virtue thrift." A good for nothing fellow. Lines 165-166. And presently … you—Very shortly I shall again join you. Line 167. Hie thee gentle ... he grows kind - Antonio is very easily taken in by Shylock’s venom-coated speech and very happily remarks that the heart of a Jew is growing so kind making one think that he will soon become a Christian. Antonio very seriously believes Shylock is growing kinder. After Shylock has made his exit, Antonio turns to Bassanio to indicate a change of heart in Shylock. Line 168. I like not fair terms … villain's mind—I am suspicious when fair conditions are offered by a man who is a reputed villain. Bassanio is more alert than Antonio, and is always suspicious of Shylock's plans. Goodness and that too from a villain are two contradictory things. Lines 169—170. Come on … before the day — Antonio quietens the fear of Bassanio by adding that there is no cause of concern since his ships shall shortly be back, almost a month before the date of payment of this loan is fixed.

Act 2 Scene 1 Not so significant from the dramatic point of view this scene throws light on the character of the Prince of Morocco. The Moorish Prince, with his gallantry, passionate feelings, and boyish simplicity, suggests an early study of Moorish character. His words have a time rolling rhythm, his style a southern gaudiness of colour. For the Elizabethans, the Moor was interchangeable with the Negro, and both were thought of

as barbarians involved in savagery and lust. Portia awes the very appearance of Morocco. Morocco is a vain egoist who makes an eloquent advertisement in the manner of prize fighter: of genuine love and admiration for Portia he has none. This scene is but a prelude to the more important one, 'the Casket Scene', where Bassanio emerges as the winner. The scene with its broad comic strokes (visible from the Moor in his flowing robes) comes as a great relief after the tense and tightly woven discussion between Shylock, Antonio and Bassanio. [Flourish of cornets.] Enter [the PRINCE of] MOROCCO, a tawny Moor all in white, and three or four followers accordingly, with PORTIA, NERISSA, and their TRAIN. MOROCCO Mislike me not for my complexion, The shadow'd livery of the burnish'd sun, To whom I am a neighbor and near bred. Bring me the fairest creature northward born, Where Phoebus' 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 Have loved it too: I would not change this hue, Except to steal your thoughts, my gentle queen. PORTIA In terms of choice I am not solely led By nice direction of a maiden's eyes; Besides, the lott'ry 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 As any comer I have look'd on yet For my affection. MOROCCO 22 Even for that I thank you: 23 Therefore, I pray you, lead me to the caskets 24 To try my fortune. By this scimitar 25 That slew the Sophy and a Persian

A butler ushered the Prince of Morocco into the great hall in Belmont. He was accompanied by his colourfully dressed attendants. Morocco was dressed in gorgeous eastern robes and a spectacular green turban. He bowed graciously to Portia, who sat on a huge ornate chair, surrounded by her attendants. Nerissa sat beside her. At the other end of the hall the three great oak caskets waited. Portia invited the prince to sit on the chair opposite her, which he did, with several flourishes. She was aware of Nerissa’s efforts to maintain a blank expression. She knew that she should, on no account, glance at her. She motioned the prince to begin his suit. ‘Do not take a disliking to me because of my colour,’ he began. His voice was rich and deep, and he had a guttural accent. ‘It’s the dark uniform of those who live beneath the burning sun. Bring me the palest creature born in a northern climate, where the sun is too weak to melt icicles, and compare our love by cutting through our skins. That would prove whose blood is reddest, his or mine. I assure you, lady, this face of mine has struck fear into the bravest of men. I swear by my love that the most beautiful virgins of our country have loved it too. I would not change my colour, my gentle queen, except to win your love.’ ‘As far as choice of a husband is concerned,’ replied Portia, ‘I’m not solely influenced by the things that normally appeal to a young woman’s eyes. In any case, the lottery of my destiny removes the right to choose for myself. But if my father hadn’t restricted me by his plan to give myself as his wife to whoever wins me by the method I explained to you,

prince 26 That won three fields of Sultan Solyman, 27 I would o'erstare the sternest eyes that look, 28 Outbrave the heart most daring on the earth, 29 Pluck the young sucking cubs from the she-bear, 30 Yea, mock the lion when 'a roars for prey, 31 To win thee, lady. But, alas the while! 32 If Hercules and Lichas play at dice 33 Which is the better man, the greater throw 34 May turn by fortune from the weaker hand: 35 So is Alcides beaten by his page; 36 And so may I, blind fortune leading me, 37 Miss that which one unworthier may attain, 38 And die with grieving. PORTIA 38 You must take your chance, 39 And either not attempt to choose at all 40 Or swear before you choose, if you choose wrong 41 Never to speak to lady afterward 42 In way of marriage: therefore be advis'd. MOROCCO 43 Nor will not. Come, bring me unto my chance. PORTIA 44 First, forward to the temple: after dinner 45 Your hazard shall be made. MOROCCO 45 Good fortune then! 46 To make me blest or cursed'st among men. Exeunt.

you, renowned prince, would have had as good a chance as any wooer.’ ‘I thank you for that,’ replied the prince with a modest bow of his head. ‘So please lead me to the caskets to try my fortune. By this sword, that dispatched the Sophy and a Persian prince who had won three battles against Sultan Solyman, I would outstare the sternest eyes that ever looked, be braver than the most courageous man on earth, snatch the young sucking cubs from the mother bear, even scorn the predatory lion, to win you, lady. But alas! If Hercules and Lichas were to throw dice to determine which was the greater, the higher number may, by luck, be thrown by the weaker of the two. In that way, Alcides could be beaten by his page. So could I also, being a hostage to fortune, lose what a less worthy man may gain, and die of grief.’ ‘You have to take that risk,’ said Portia. ‘You must decide either not to attempt to choose at all, or swear, before you choose, that if you choose wrong you will never again talk to another woman about marriage. So be warned.’ ‘I agree! So come on, lead me to my fate.’ ‘First, to the temple to make your vow,’ said Portia. ‘After dinner you’ll make your choice.’ ‘Good luck to me then!’ exclaimed the prince. ‘This will make me either the happiest or the most wretched of men.’

Launcelot Gobbo, Shylock's servant, is debating whether to leave his master. Jabbering to himself, he imagines that a "fiend" is urging him to run away, while his conscience instructs him to remain. Launcelot finds himself in a quandary. He feels obligated to stay with his master; yet he thinks it cannot be right to continue serving a Jew whom he considers "the very devil incarnation" (2.2.26).

Launcelot, a kind of clown character, finds himself in a moral dilemma. On the one hand, he has his conscience, which pushes him toward obedience to Shylock, his master. On the other is his prejudice, which he describes as a kind of fiend, and which sees Jews as devils.

Launcelot has just resolved to leave Shylock for good when his father, the blind Old Gobbo, appears. Gobbo asks Launcelot whether he knows the way to Shylock's house. Amused that his father has not recognized him, Launcelot decides to play a prank on him by giving him bad directions. Then Launcelot plays an even crueler trick: he tells Gobbo that his son has died. Only when Gobbo exclaims with grief does Launcelot reveal himself.

This scene of cruelty, in which a child abuses his parent, foreshadows how Shylock's daughter, Jessica, will abandon him. It also makes Gobbo's blindness an interpretive handicap: he literally cannot see things.

After some confusion, Gobbo accepts that Launcelot is indeed his "own flesh and blood" (2.2.88). Gobbo then asks his son how he is doing; Launcelot reveals that he's decided to go work for Bassanio before he is entirely corrupted by Shylock's influence: "I am a Jew if I serve the Jew any longer," (2.2.106–7) he says.

Launcelot speaks of flesh and blood—that is, man's animal being—as the basis for being related. Launcelot also brings up an important question about identity: Can one become a Jew, or is Jewishness inborn and inescapable.

At this moment, Bassanio arrives with Lorenzo and several followers. Launcelot and Gobbo seize the opportunity and beg Bassanio to employ Launcelot so that he can escape Shylock's service. Once he figures out what they're asking, Bassanio readily accepts. Rushing off, Launcelot assures Bassanio that he will "take leave of the Jew in the twinkling of an eye" (2.2.167) and will not even say farewell to Shylock.

Prejudice against Jews is used to cement bonds between Venetians of different social classes. It seems unlikely that Bassanio would have hired Launcelot away from another Christian. Launcelot seems to feel no bond to Shylock despite having served him for years.

As Launcelot is leaving, Gratiano enters. He asks to accompany Bassanio to Portia's estate at Belmont. Bassanio agrees, but with the condition that Gratiano must control his infamous "wild behavior" (2.2.178) to prevent it from reflecting badly on Bassanio. Gratiano teasingly assures his friend that he will "put on a sober habit" and "swear but now and then" (2.2.180–1). Gratiano then says he must go see Lorenzo, but that he will come to Bassanio's house for supper.

Enter the Clown [LAUNCELOT GOBBO] alone. LAUNCELOT 1 Certainly my conscience will serve me to 2 run from this Jew my master. The fiend is at mine 3 elbow and tempts me saying to me "Gobbo, 4 Launcelot Gobbo, good Launcelot," or "good Gobbo," 5 or "good Launcelot Gobbo, use your 6 legs, take the start, run away." My conscience 7 says "No; take heed, honest Launcelot; take heed, 8 honest Gobbo," or, as aforesaid, "honest Launcelot 9 Gobbo; do not run; scorn running with thy heels."

Shylock’s young servant, Lancelot Gobbo, very slowly opened his master’s front door, peered round it, looked up and down the street, then came out and stood in front of the house. His mind was in turmoil. On the one hand he felt no guilt about running away from the Jew, his master – the devil was at his elbow, tempting him, saying ‘Gobbo, Launcelot Gobbo, good Lancelot,’ or ‘good Gobbo,’ or ‘good Lancelot Gobbo’. Use your legs: get started: run away.’ But on the other hand, his conscience was saying ‘no, be careful, honest Lancelot, be careful, honest Lancelot,’ – or, using the same form of address as the devil had, ‘honest Lancelot Gobbo’ – ‘don’t run, don’t take off.’ Then the valiant devil tells him to pack his stuff. ‘Off you go,’ he says. ‘Away! For heaven’s sake, be bold, and run!’ Then his conscience, like a great

10 Well, the most courageous fiend bids me pack: 11 "Fia!" says the fiend; "away!" says the fiend; 12 "for the heavens, rouse up a brave mind," says the 13 fiend, "and run." Well, my conscience, hanging 14 about the neck of my heart, says very wisely to me 15 "My honest friend Launcelot, being an honest 16 man's son," or rather an honest woman's son; for, 17 indeed, my father did something smack, something 18 grow to, he had a kind of taste; well, my conscience 19 says "Launcelot, budge not." "Budge," says 20 the fiend. "Budge not," says my conscience. 21 "Conscience," say I, "you counsel well;" "Fiend," 22 say I, "you counsel well." To be ruled by my 23 conscience, I should stay with the Jew my master, 24 who, God bless the mark, is a kind of devil; and, to 25 run away from the Jew, I should be rul'd by the 26 fiend, who, saving your reverence, is the devil himself. 27 Certainly the Jew is the very devil incarnation; 28 and, in my conscience, my conscience is but a 29 kind of hard conscience, to offer to counsel me to 30 stay with the Jew. The fiend gives the more 31 friendly counsel: I will run, fiend; my heels are at your 32 commandement; I will run. Enter Old GOBBO, with a basket. GOBBO 33 Master young man, you, I pray you, which is the way 34 to master Jew's? LAUNCELOT [Aside.]

weight on his heart says, very wisely, to him: ‘My honest friend Lancelot, being an honest man’s son…’ – an honest woman’s son, more like it, because his father was a bit dodgy – ‘… Lancelot, don’t budge.’ ‘Budge!’ says the devil. ‘Don’t budge!’ says his conscience.

Lancelot shook his finger at the imaginary figure at his right elbow. ‘Conscience,’ he said out loud, ‘you give me good advice.’ He shook his finger in the other direction. ‘Devil,’ he said, ‘you give me good advice.’ To satisfy his conscience he would have to stay with his master, the Jew who, bless us all, was a kind of devil. If he ran away from the Jew he would be satisfying the Devil himself, bless us all! One thing was certain, the Jew was the devil personified. For heaven’s sake, his conscience was being very tough on him to suggest staying with the Jew. The devil’s advice was much more friendly. He tapped his left elbow. ‘My heels are at your command,’ he said. ‘I’ll run.’ He narrowly missed knocking an old man off his feet. The old man grabbed his coat and clung to it with one hand as he righted himself. He held a basket in the other. ‘Master young man,’ he said, ‘please, which is the way to Master Jew’s? Lancelot recognised the voice. He stepped away from the old man and looked at him. Good heavens, it was his own father! He was more than a bit blind, now, and didn’t recognise his own son. He smiled. He would have a bit of fun with him. ‘Master young man,’ old Gobbo said again, ‘please, which is the way to

35 O heavens, this is my true-begotten father! 36 who, being more than sand-blind, high-gravel blind, 37 knows me not: I will try confusions 38 with him. GOBBO 39 Master young gentleman, I pray you, which is the way 40 to master Jew's? LAUNCELOT 41 Turn up on your right hand at the next turning, but, 42 at the next turning of all, on your left; marry, at 43 the very next turning, turn of no hand, but turn 44 down indirectly to the Jew's house. GOBBO 45 By God's sonties, 'twill be a hard way to hit. Can 46 you tell me whether one Launcelot, 47 that dwells with him, dwell with him or no? LAUNCELOT 48 Talk you of young Master Launcelot?

Master Jew’s?’ ‘Turn right at the next corner, but at the very next corner turn left. Then at the last corner don’t turn any way but turn down indirectly to the Jew’s house,’ said Lancelot, shouting and speaking as rapidly as he could. ‘By God’s saints, it’s a hard way to go,’ said old Gobbo. ‘Can you tell me whether one Lancelot, who lives with him, lives with him or not?’ ‘Are you referring to young Master Lancelot?’ Young Gobbo smiled. He was about to make the tears flow. ‘Do you mean young Master Lancelot?’ he shouted in the old man’s ear. ‘Just Lancelot, with respect to your mastership.’ ‘That’s right, Master Lancelot. But don’t talk about Master Lancelot, old man, because the young gentleman – as a result of something like fate, destiny, or some such old wives’ tale, the fatal sisters or some such thing – is deceased, or as one would say in plain terms, gone to heaven.’

[Aside.] 49 Mark me now; now will I raise the waters. Talk you 50 of young Master Launcelot? GOBBO 51 No master, sir, but a poor man's son: his father, 52 though I say it, is an honest exceeding poor man 53 and, God be thanked, well to live. LAUNCELOT 54 Well, let his father be what a' will, we talk of 55 young Master Launcelot. GOBBO 56 Your worship's friend and Launcelot, sir. LAUNCELOT

‘Oh God forbid!’ exclaimed the old man. ‘The boy was the staff of my old age: my prop!’ He dropped his basket and sunk to the ground. Lancelot knelt beside him and smiled. ‘Do I look like a stick or a corner post, a staff or a prop? Don’t you recognise me father?’ His father looked at him closely then gave up and shook his head. ‘Alas, sir, I’m almost blind, I don’t recognise you.’ ‘No, even if you weren’t blind, you might still not recognise me. It’s a wise father that knows his own child.’ He sat beside his father in the street. ‘Well, old man,’ he said, ‘I’ve got news about your son. Give me your blessing. The truth always comes out and murder can’t be concealed for long, even though a man’s

57 But I pray you, ergo, old man, ergo, I beseech you, 58 talk you of young Master Launcelot? GOBBO 59 Of Launcelot, an't please your mastership. LAUNCELOT 60 Ergo, Master Launcelot. Talk not of Master 61 Launcelot, father; for the young gentleman, 62 according to Fates and Destinies and such odd 63 sayings, the Sisters Three and such branches of 64 learning, is indeed deceased, or, as you would say 65 in plain terms, gone to heaven. GOBBO 66 Marry, God forbid! the boy was the very staff of my 67 age, my very prop. LAUNCELOT 68 Do I look like a cudgel or a hovelpost, a staff or 69 a prop? Do you know me, father? GOBBO 70 Alack the day, I know you not, young gentleman: 71 but, I pray you, tell me, is my boy, God rest his 72 soul, alive or dead? LAUNCELOT 73 Do you not know me, father?

son may be, but in the end the truth will out.’ Old Gobbo took his son’s arm. ‘Please, sir, stand up.’ Lancelot helped him up and he scrutinised the young man’s face. He shook his head. ‘I’m sure you aren’t my boy, Lancelot.’ ‘Come on now,’ said Lancelot, ‘let’s stop fooling around: give me your blessing. I am Lancelot, who was your boy, who is your son, and who will always be your child.’ ‘I can’t believe you’re my son.’ ‘I don’t know what to say to that,’ said Lancelot. ‘But I am Lancelot, the Jew’s servant and I’m certain that your wife, Margery, is my mother.’ The old man started. ‘Her name is Margery!’ he exclaimed. I swear, if you are Lancelot, you’re my own flesh and blood. Thank God!’ His hands reached towards Lancelot’s face but the young man turned his back to him and his hands landed on the back of his son’s head. ‘What a beard you’ve got!’ he exclaimed. ‘You’ve got more hair on your chin than my carthorse, Dobbin’s, got on his tail!’ Lancelot laughed. ‘Dobbin’s tail must go backward,’ he said. ‘I’m sure he had more hair on his tail than I had on my face last time I saw him.’

GOBBO 74 Alack, sir, I am sand-blind; I know you not.

‘Lord how you’ve changed!’ Old Gobbo stared at him, trying to see him. ‘How do you get on with your master? I’ve brought him a present. Come on now, how do you get on?’

LAUNCELOT 75 Nay, indeed, if you had your eyes, you might fail of 76 the knowing me: it is a wise father that knows his 77 own child. Well, old man, I will tell you news of 78 your son: give me your blessing: truth will come

‘So so,’ said Lancelot. ‘But for my own part, as I’ve made up my mind to run away I won’t rest till I’ve covered some distance. My master’s a real Jew. Give him a present? Give him a noose! I’m starving in this job. You can count every one of my fingers with my ribs! Father, I’m glad you’ve come. Give your present to a certain Master Bassanio, who issues

79 to light; murder cannot be hid long; beautiful uniforms. Either I’ll work for a man's son him or run as far away as I can. Oh, what 80 may, but at the length truth will out. a co-incidence! Look, he’s coming this way. Go to him father: if I work for the GOBBO Jew any longer then I’m a Jew!’ 81 Pray you, sir, stand up: I am sure you are not Bassanio was walking toward’s Shylock’s 82 Launcelot, my boy. house. His servant, Leonardo, and a few other young servants were with him. He LAUNCELOT was talking to one of them as he walked. 83 Pray you, let's have no more fooling about it, but ‘Yes, you can do that,’ he was saying, 84 give me your blessing: I am ‘but hurry up about it and make sure that Launcelot, your boy supper is ready by five o’clock at the 85 that was, your son that is, your child very latest. See that these letters are that shall delivered, and order the servants’ 86 be. uniforms from the tailor, and ask Gratiano to come to my house later.’ GOBBO 87 I cannot think you are my son. Lancelot turned his father, pointed him towards Bassanio and gave him a shove. LAUNCELOT ‘Go to him, father,’ he said. 88 I know not what I shall think of that: The old man groped the air until his but I am hand found Bassanio’s doublet then he 89 Launcelot, the Jew's man, and I am bowed low in front of him. ‘God bless sure Margery your your worship!’ he exclaimed. 90 wife is my mother. ‘Thank you,’ said Bassanio, stepping GOBBO back. ‘Did you want something?’ 91 Her name is Margery, indeed: I'll be sworn, if thou ‘This is my son, sir, a poor boy…’ 92 be Launcelot, thou art mine own flesh and blood. Lancelot interrupted him. ‘Not a poor 93 Lord worshipped might he be! what boy, sir, but the rich Jew’s servant who, a beard hast thou as my father will explain…’ 94 got! thou hast got more hair on thy chin than ‘He has a great ambition, sir, as they 95 Dobbin my fill-horse has on his tail. say, to serve…’ LAUNCELOT 96 It should seem, then, that Dobbin's tail grows 97 backward: I am sure he had more hair of his tail 98 than I have of my face when I last saw him. GOBBO 99 Lord, how art thou changed! How dost thou and thy 100 master agree? I have brought him a present. How 101 'gree you now?

Lancelot pushed the old man aside. ‘Well the short and long of it is that I serve the Jew, but would like, as my father will explain…’ He nudged the old man. ‘He and his master, with respect to your worship, are scarcely on speaking terms,’ said Old Gobbo. ‘To cut a long story short,’ said Lancelot, ‘the plain truth is that the Jew, having treated me badly, makes me… as my father, being an old man, will explain to you.’

LAUNCELOT 102 Well, well: but, for mine own part, as I 103 have set up my rest to run away, so I will not rest 104 till I have run some ground. My master's a very 105 Jew: give him a present! give him a halter: 106 I am famished in his service; you may tell every 107 finger I have with my ribs. Father, I am glad you 108 are come: give me your present to one Master 109 Bassanio, who, indeed, gives rare new liveries: 110 if I serve not him, I will run as far as God has any 111 ground. O rare fortune! here comes the man: to 112 him, father; for I am a Jew, if I serve the Jew any 113 longer. Enter BASSANIO with a follower or

Old Gobbo lifted his basked and held it up in front of Bassanio’s face. ‘I have here a dish of doves that I would like to give to your worship, and my request is…’ ‘Very briefly,’ said Lancelot, ‘his request concerns me, as your worship will find out from this honest old man, and though I say it myself, old man, although poor man, my father…’ Bassanio laughed. ‘One can speak for both of you.’ He looked Lancelot up and down. ‘What is it you want?’ ‘To work for you, sir,’ said Lancelot. ‘That’s the heart of the matter, sir,’ said Old Gobbo. ‘I know you well,’ said Bassanio. ‘Your request is granted. ‘Your master, Shylock, spoke to me today and recommended you, if it’s real promotion to leave a rich Jew’s service to become a follower of such a poor gentleman.’

two, [including LEONARDO]. BASSANIO 114 You may do so; but let it be so hasted that supper 115 be ready at the farthest by five of the clock. See 116 these letters delivered; put the liveries to making, 117 and desire Gratiano to come anon to my 118 lodging. [Exit a Servant.] LAUNCELOT 119 To him, father. GOBBO 120 God bless your worship! BASSANIO 121 Gramercy! wouldst thou aught with me? GOBBO 122 Here's my son, sir, a poor boy,—

‘The old proverb fits my master, Shylock, and you, sir. You have the grace of God and he has the money.’ ‘You’ve put it well,’ said Bassanio. ‘Go with your son, old man.’ He put his hand on Lancelot’s shoulder. ‘Take your leave of your old master and go and find my house. Give him a fancier uniform than all the others,’ he told one of the young servants. ‘Make sure it’s done.’ Lancelot could hardly believe it. His mind was a blur. Bassanio took Leonardo aside to have a word with him and Lancelot grabbed hold of his father’s shoulders. He guided him in the direction of Shylock’s house. ‘After you,’ he said. ‘I can’t get a job, can I? I don’t have a tongue in my head, huh? Well.’ He held his palm upward. ‘Have you ever seen a palm that indicates a better fortune? Come on, look at this lifeline. And that small matter of women. Fifteen wives is nothing. Eleven widows and nine virgins is nothing to a man like me. And then to escape drowning three times, not to

LAUNCELOT 123 Not a poor boy, sir, but the rich Jew's man; that 124 would, sir, as my father shall specify— GOBBO 125 He hath a great infection, sir, as one would 126 say, to serve— LAUNCELOT 127 Indeed, the short and the long is, I serve the Jew, 128 and have a desire, as my father shall 129 specify— GOBBO 130 His master and he, saving your worship's reverence, 131 are scarce cater-cousins— LAUNCELOT 132 To be brief, the very truth is that the Jew, having 133 done me wrong, doth cause me, as my father, being, I 134 hope, an old man, shall frutify unto you—

mention not getting caught in bed with those women. Those are all minor matters. Well, if fortune is a woman, she’s the right girl for this job. Come on father, I’ll take my leave of the Jew in the twinkling of an eye.’ Old Gobbo entered slowly, feeling his way through the door. Lancelot followed. Bassanio completed his instructions to Leonardo. ‘Take care of everything, please, good Leonardo. And when you’ve done everything and packed carefully, come back as fast as you can. I’m dining with my noble friend tonight. Off you go then.’ ‘I’ll do my best,’ said Leonardo. He encountered Gratiano at the end of the street. ‘Where’s your master?’ said Gratiano. Leonardo pointed. ‘He’s over there.’ Gratiano called to his friend. ‘Bassiano!’ ‘Gratiano!’ Bassiano came hurrying towards him. ‘I need a favour,’ said Gratiano.

GOBBO 135 I have here a dish of doves that I would bestow upon 136 your worship, and my suit is— LAUNCELOT 137 In very brief, the suit is impertinent to myself, as 138 your worship shall know by this honest old man; and, 139 though I say it, though old man, yet 140 poor man, my father. BASSANIO 141 One speak for both. What would you? LAUNCELOT 142 Serve you, sir. GOBBO 143 That is the very defect of the

‘You have it.’ ‘Don’t say no to this,’ said Gratiano. ‘I want to go with you to Belmont.’ ‘Well then you must come with me. But listen Gratiano. You’re too wild, too rude, too outspoken. To our eyes, those aren’t faults: but with people who don’t know you they’re inappropriate. I beg of you, please try and tame your high spirits a little – let’s have a bit of modesty otherwise your behaviour will spoil things in Belmont and destroy my chances.’ Gratiano drew himself up. ‘Signior Bassanio,’ he said. ‘Listen to me. If I don’t dress in a sober manner, talk respectfully, swear only now and again, carry prayer-books in my pocket, assume a modest look – even more than that,

matter, sir. BASSANIO 144 I know thee well; thou hast obtain'd thy suit: 145 Shylock thy master spoke with me this day, 146 And hath preferr'd thee, if it be preferment 147 To leave a rich Jew's service, to become 148 The follower of so poor a gentleman. LAUNCELOT 149 The old proverb is very well parted between my 150 master Shylock and you, sir: you have the grace of 151 God, sir, and he hath enough. BASSANIO 152 Thou speak'st it well. Go, father, with thy son. 153 Take leave of thy old master and inquire 154 My lodging out. [To a servant.] 154 Give him a livery 155 More guarded than his fellows': see it done. LAUNCELOT 156 Father, in. I cannot get a service, no; I have 157 ne'er a tongue in my head. Well, if any man in 158 Italy have a fairer table which doth offer to swear 159 upon a book, I shall have good fortune. Go to, 160 here's a simple line of life: here's a small trifle 161 of wives: alas, fifteen wives is nothing! eleven 162 widows and nine maids is a simple coming-in for one 163 man: and then to 'scape drowning thrice, and to be 164 in peril of my life with the edge of a feather-bed; 165 here are simple scapes. Well, if

when they say grace, take off my hat, and sigh, and say ‘amen’: be on my best behaviour at all times, like one bent on pleasing his grandmother – never trust me again!’ Bassanio regarded him for a moment then nodded. ‘Well we’ll see how you behave.’ Gratiano shook his friend’s hand vigorously. ‘Yes, but we won’t count tonight. You mustn’t judge me on what we do tonight!’ ‘Of course not: that would be a pity. I would beg you, instead, to be at your best tonight, because our friends intend to have a good time. But goodbye for now: I have some business to attend to.’ ‘And I must find Lorenzo and the others. But we’ll all come to you at dinner time.’

Fortune be a 166 woman, she's a good wench for this gear. Father, 167 come; I'll take my leave of the Jew in the twinkling of an eye. Exit [Launcelot with Old Gobbo]. BASSANIO 168 I pray thee, good Leonardo, think on this: 169 These things being bought and orderly bestow'd, 170 Return in haste, for I do feast tonight 171 My best-esteem'd acquaintance: hie thee, go. LEONARDO 172 My best endeavours shall be done herein. Enter GRATIANO. GRATIANO 173 Where is your master? LEONARDO 174 Yonder, sir, he walks. Exit LEONARDO. GRATIANO 175 Signior Bassanio! BASSANIO 176 Gratiano! GRATIANO 177 I have a suit to you. BASSANIO 177 obtain'd it.

You have

GRATIANO 178 You must not deny me: I must go with you 179 to Belmont. BASSANIO 180 Why then you must. But hear thee, Gratiano; 181 Thou art too wild, too rude and

bold of voice; 182 Parts that become thee happily enough 183 And in such eyes as ours appear not faults; 184 But where thou art not known, why, there they show 185 Something too liberal. Pray thee, take pain 186 To allay with some cold drops of modesty 187 Thy skipping spirit, lest through thy wild behavior 188 I be misconst'red in the place I go to, 189 And lose my hopes. GRATIANO 189 Signior Bassanio, hear me: 190 If I do not put on a sober habit, 191 Talk with respect and swear but now and then, 192 Wear prayer-books in my pocket, look demurely, 193 Nay more, while grace is saying, hood mine eyes 194 Thus with my hat, and sigh and say "amen," 195 Use all the observance of civility, 196 Like one well studied in a sad ostent 197 To please his grandam, never trust me more. BASSANIO 198 Well, we shall see your bearing. GRATIANO 199 Nay, but I bar tonight: you shall not gauge me 200 By what we do tonight. BASSANIO 200 No, that were pity: 201 I would entreat you rather to put on 202 Your boldest suit of mirth, for we have friends 203 That purpose merriment. But fare you well: 204 I have some business. GRATIANO 205 And I must to Lorenzo and the rest:

206 But we will visit you at supper-time. Exeunt.

At Shylock's house, Launcelot bids farewell to Shylock's daughter, Jessica. Jessica says that she will miss him—his presence helped make her life at home more tolerable. Then, she gives him a letter and asks him to pass it on secretly to Bassanio's friend Lorenzo at dinner that night. Tearful at having to leave her, Launcelot takes the letter.

Identifying the defector Launcelot as her ally in her own home, Jessica immediately shows "Venetian"-style prejudice against her own group—the Jews—and hints at the disloyalty and betrayal to which she will subject her own father.

After Launcelot departs, Jessica worries that her shame at being her father's child is a sin. Yet, she reflects, she is daughter only to his "blood" (2.3.18); she does not share his "manners" (19). Then, she reveals why she sent the letter with Launcelot: Lorenzo has promised that he loves her and wants to marry her. If he keeps his vows, she vows that she will convert to Christianity and become Lorenzo's wife. Enter JESSICA and the clown [LAUNCELOT]. JESSICA 1 I am sorry thou wilt leave my father so: 2 Our house is hell, and thou, a merry devil, 3 Didst rob it of some taste of tediousness. 4 But fare thee well, there is a ducat for thee: 5 And, Launcelot, soon at supper shalt thou see 6 Lorenzo, who is thy new master's guest: 7 Give him this letter; do it secretly; 8 And so farewell: I would not have my father 9 See me in talk with thee. LAUNCELOT 10 Adieu! tears exhibit my tongue.

Shylock’s daughter, Jessica, escorted Lancelot to the door.

‘I’m sorry you’re leaving my father like this,’ she said. ‘Our house is hell, and you, a merry devil, relieved it of some of its tedium. But goodbye, and here’s a ducat for you.’ She looked at him hesitantly then drew a letter out of her pocket. ‘Lancelot, tonight at supper you’ll see Lorenzo, who will be a guest of your new master. Give him this letter, and do it secretly. And so, farewell. I don’t want my father to catch me talking to you.’

Most beautiful 11 pagan, most sweet Jew! if a Christian did not play 12 the knave and get thee, I am much deceived. But, 13 adieu: these foolish drops do something drown my 14 manly spirit: adieu. JESSICA 15 Farewell, good Launcelot. [Exit Launcelot.] 16 Alack, what heinous sin is it in me 17 To be ashamed to be my father's child! 18 But though I am a daughter to his blood, 19 I am not to his manners. O Lorenzo, 20 If thou keep promise, I shall end this strife, 21 Become a Christian and thy loving wife. Exit.

‘Adieu,’ said Lorenzo. ‘My tears speak for me. Most beautiful pagan! Most sweet Jewess! I’m much mistaken if a Christian didn’t seduce your mother to produce you. But goodbye. These foolish tears are unmanly. Goodbye!’ Jessica watched him go then shut the door. It was goodbye to Lancelot. What a terrible sin it was in her to be ashamed to be her father’s child. But although she was his natural daughter she wasn’t his daughter in other ways. Oh Lorenzo! If he kept his word all her problems would be over. She would become a Christian and be his loving wife.’