rPilOPCRTY OF -ttWttiBEHT Of DRA;.:AT.:Mf - Do not remove from 214 Dec. Arts OF ENGLISH TEXTS GENERAL EDITOR HENRY VAN DYKE ADDISON'S SIR ROGER DE COVERLEY PAPERS. Professor C. T. Winchester, Wesleyan University. 40 cents. BURKE'S SPEECH ON CONCILIATION. Professor William Mac- Donald, Brown University. 35 cents. BYRON, WORDSWORTH, SHELLEY, KEATS, and BROWNING. Pro- fessor C. T. Copeland, Harvard University, and Henry Milner Rideout. 40 cents. CARLYLE'S ESSAY ON BURNS. Professor Edwin Mims, Trinity Col- lege, North Carolina. 35 cents. COLERIDGE'S THE ANCIENT MARINER. Professor George E. Wood- berry, Columbia University. 30 cents. EMERSON'S ESSAYS. Henry van Dyke. 35 cents. FRANKLIN'S AUTOBIOGRAPHY. Professor Albert Henry Smyth, Cen- tral High School, Philadelphia. 40 cents. GASKELL'S CRANFORD. Professor Charles E. Rhodes, Lafayette High School, Buffalo. 40 cents. GEORGE ELIOT'S SILAS MARNER. Professor W. L. Cross, Yale University. 40 cents. GOLDSMITH'S VICAR OF ^AKEFIELD and DESERTED VILLAGE. Pro- fessor James A. Tufts, Phillips Exeter Academy. 45 cents. IRVING'S SKETCH-BOOK. Professor Martin W. Sampson, Cornell University. 45 cents. LAMB'S ESSAYS OF ELIA. Professor John F. Genung, Amherst College. 40 cents. LINCOLN'S ADDRESSES AND LETTERS. Dr. Andrew S. Draper, Com- missioner of Education for the State of New York. 35 cents. Gateway Series MACAULAY'S ADDISON. Professor Charles F. McClumpha, University of Minnesota. 35 cents. MACAULAY'S LIFE OF JOHNSON. Professor J. S. Clark, Northwestern University. 35 cents. MACAULAY'S ADDISON AND JOHNSON. In one volume. (McClumpha and Clark.) 45 cents. MACAULAY'S MILTON. Rev. E. L. Gulick, Lawrenceville School. 35 cents. MILTON'S MINOR POEMS. Professor Mary A. Jordan, Smith College. 35 cents. SCOTT'S IVANHOE. Professor Francis H. Stoddard, New York Uni- versity. 50 cents. SCOTT'S LADY OF THE LAKE. Professor R. M. Alden, Leland Stan- ford Jr. University. 40 cents. SHAKESPEARE'S As You LIKE IT. Professor Isaac N. Demmon, University of Michigan. 35 cents. SHAKESPEARE'S JULIUS CESAR. Dr. Hamilton W. Mabie, "The Outlook." 35 cents. SHAKESPEARE'S MACBETH. Professor T. M. Parrott, Princeton Uni- versity. 40 cents. SHAKESPEARE'S MERCHANT OF VENICE. Professor Felix E. Schel- ling, University of Pennsylvania. 35 cents. STEVENSON'S INLAND VOYAGE and TRAVELS WITH A DONKEY. Gilbert S. Blakely, Morris High School, New York. 40 cents. TENNYSON'S GARETH AND LYNETTE, LANCELOT AND ELAINE, and THE PASSING OF ARTHUR. Henry van Dyke. 35 cents. TENNYSON'S PRINCESS. Professor Katharine Lee Bates, Wellesley College. 40 cents. WASHINGTON'S FAREWELL ADDRESS and WEBSTER'S FIRST BUNKER HILL ORATION. Frank W. Pine, The Hill School, Pottstown, Pa. 30 cents. THE JANSEN SHAKESPEARE GATEWAY SERIES >.** THE MERCHANT OF VENICE EDITED BY FELIX E. SCHELLING, PH.D., Lrrr.D. PROFESSOR IN THE UNIVERSITY OF PENNSYLVANIA NEW YORK- ."CINCINNATI.:. CHICAGO AMERICAN BOOK COMPANY COPYRIGHT, 1903, BY AMERICAN BOOK COMPANY. ENTERED AT STATIONERS' HALL, LONDON, MERCHANT OF VENICE. W. P. II PREFACE BY THE GENERAL EDITOR THIS series of books aims, first, to give the English texts required for entrance to college in a form which shall make them clear, interesting, and helpful to those who are beginning the study of literature ; and, second, to supply the knowledge which the student needs to pass the entrance examination. For these two reasons it is called The Gateway Series. The poems, plays, essays, and stories in these small volumes are treated, first of all, as works of literature, which were written to be read and enjoyed, not to be parsed and scanned and pulled to pieces. A short life of the author is given, and a portrait, in order to help the student to know the real person who wrote the book. The introduction tells what it is about, and how it was written, and where the author got the idea, and what it means. The notes at the foot of the page are simply to give the sense of the hard words so that the student can read straight on without turning to a dictionary. The other notes, at the end of the book, explain difficulties and allusions and fine points. 5 6 Preface by the General Editor The editors are chosen because of their thorough training and special fitness to deal with the books committed to them, and because they agree with this idea of what a Gateway Series ought to be. They express, in each case, their own views of the books which they edit. Simplicity, thoroughness, shortness, and clearness, these, we hope, will be the marks of the series. HENRY VAN DYKE. BIOGRAPHY WILLIAM SHAKESPEARE, the son of John Shakespeare and Mary Arden, was baptized at Stratford-on-Avon, April 26, 1564. His father was a substantial yeoman or farmer who became the head alderman and bailiff of his borough, although he later fell into financial difficulties. Shakespeare was probably educated at the Stratford Grammar School, where he learned a little Latin and less, if any, Greek. He married Ann Hathaway of the neighbouring hamlet of Shottery when he was little more than eighteen years of age, and we hear no more of him, save for the birth of three of his children in 1583 and 1585, until we find him, in 1592, an actor and playwright in London. Shake- speare was not a learned man ; he lacked that laborious training in the classics which Lord Bacon would have considered the only road to learning, and it is unlikely that he ever acquired that proficiency in modern foreign tongues and manners which was prized among the fine gentlemen of his day. But Shakespeare had what has been called " an experienc- ing nature " ; whatever he saw or read he remembered and gave forth at will, and his plays prove him to have been an exceedingly wise and accomplished man. 7 8 Biography We do not know just how Shakespeare began his London career. Like other playwrights, he doubtless acted small parts, helped to mend plays for revival and, showing talent in this way, was speedily advanced. Stories have been insinuated of loose habits ; but the stamp of industry is on Shakespeare's life, and his early success and his fidelity to his family belie such tales. In 1592 Shakespeare is alluded to by the dramatist Robert Greene as a rival to be feared for his sudden rise to popularity. In the same year Henry Chettle, another rival, declared Shakespeare a good actor and an estimable man. In 1593 Shake- speare dedicated his Venus and Adonis , which he called " the first he ire of my invention," to the Earl of Southampton, who remained his friend and patron. From that time on mention of Shakespeare is frequent in many books and documents. We do not know as much about his life as we know of the lives of men of that day who were identified with the court or with public office. But we know as much about Shake- speare, and more, than we know of any of his contem- poraries similarly circumstanced in life. Shakespeare had joined a company of actors variously known as Lord Strange 's or the Lord Chamberlain's company in the reign of Elizabeth and as the King's in the reign of King James. This company acted chiefly at the old Theatre and at the Globe. This was by all odds the most successful company of its age, and this success was largely due to the excellence and to the Biography 9 popular appreciation of Shakespeare's plays. Shake- speare never changed his company, and rose to a place in it beside Richard Burbage, the greatest actor of his time, and to a holding of the largest number of shares. This is not the place in which to give a list of Shakespeare's plays. Thirty-six appeared in the folio of 1623, the first collected edition ; and it is likely that much of his earlier work in revision has perished, while some of the plays printed under his name are not wholly his. For want of precise in- formation the exact order of the plays is unknown ; but we have information enough to affirm that, coming up to London between 1585 and 1589, Shakespeare continued an active dramatist for more than twenty years, and retired to Stratford about 1611, a rich man on the product of his plays and on the thrift of an honest and orderly life. One variety of Shakespeare's work is the chronicle history. Other writers wrote each a few such plays ; but Shakespeare devoted nearly a third of his time to productions of this kind. In them he dramatized for the stage the reigns of English kings and appealed to the patriotic spirit of the nation. The chronicle plays were written for the most part before Elizabeth ceased to reign. Shake- speare's tragedies, with one or two exceptions, cluster about the later years of Elizabeth and the earlier years of King James. In them from Julius Ccesar and Hamlet (1601 and 1602) to King Lear, Macbeth, IO Biography and Coriolanus (1605, 1606, and 1608) Shakespeare reached the height of his dramatic genius, a height still unsurpassed or even approached by those who followed after. The comedies are spread over a wider space and began in 1590 with Love's Labour's Lost, extended through The Merchant of Venice (in 1594), which has been called " the middle comedy," to The Merry Wives of Windsor (perhaps 1598), a lively and boisterous comedy of English life, through the refined and romantic Much Ado About Nothing, As You Like It, and Twelfth Night (1598 to 1600 or 1601), to the serious Measure for Measure (1603), and the ironical Troilus and Cressida -(revised perhaps in 1607). A later group of " romances," as they are called, in which are some of the most exquisite of his plays, Cymbeline, The Tempest, and A Winter's Tale (1608 to 1610 or 1611), conclude the list. Besides his plays Shakespeare wrote two narrative poems, Ve.nus and Adonis and Lucrece, printed in 1594, both very popular in their day. In 1609 appeared Shakespeare's Sonnets, some of them already known as early as 1598. Shakespeare's plays are, many of them, interspersed with beautiful songs in which species of lyrical poetry his age was peculiarly rich, It is some- what strange that Shakespeare introduced no new kind of poem or drama. What he did was to better all that had been done before,- and though he had great rivals, it was he who by his example made the Elizabethan drama what it became. Biography i i Shakespeare's life in London must have been a busy one, for to the writing of plays he added both acting and management. His work, though written for the popular stage, was greatly esteemed at court ; and there is no reason to doubt that he frequently acted with his company before Elizabeth if not before King James. Of Shakespeare's daily habits we know very little. Pleasant stories are told of good fellowship with Ben Jonson and others, and of lofty converse at the Mer- maid Tavern, the Elizabethan equivalent of Dryden's coffee-house and the modern club. Nor could Shake- speare have been at all times content with his profes- sion. For although fortune attended the most successful of Elizabethan actors, their social position, especially in earlier times, was far from assured. Shakespeare is supposed to have resided, at one time, on the Bankside in Southwark, on the Surrey side of the Thames. Shakespeare retired in 1611, and bought New Place, a fine house and grounds at Stratford, his old home. He did not long survive, but died April 23, 1616, leaving no son. The scanty records which we have, show Shakespeare to have been a thrifty man, investing his money with care and protecting his interests, if need be, by the law. He seems to have been much attached to his family and his home, and visited Stratford often, even when in the midst of his busy London career. He was much honoured and beloved by his fellow playwrights, Jonson especially prefixing to the Shakespeare folio of 1623 a poem containing 12 Biography equal praise of Shakespeare's character and his genius. Although Shakespeare was far too large-minded to work up petty biographical allusions in his works, his plays betray him in those larger lines that mark his great- ness. These plays proclaim a wide and deep experi- ence, much kindliness and charity for men's follies and weaknesses, a wealth of humour and imagination, and the highest requisite of the dramatist, a power to feel for others and to appreciate thoughts and feelings altogether foreign to his own. The portrait of Shakespeare which forms the frontis- piece of this volume is variously known as the Jansen portrait from its alleged authorship, or the Somerset portrait from its possession by the Dukes of that name. It is supposed to have been once the property of Prince Rupert and was first identified in 1770. The portrait is painted on an oak panel, bears date 1610, and is said still to be in an excellent state of preservation. Cor- nelius Jansen was a Dutch artist who painted many portraits in London between 1618 and 1648. As Jansen was but twenty years of age in 1610 and is not other- wise traceable in England earlier, it seems unlikely that this picture was painted from life. It is said, however, to bear " a very strong resemblance in its manner and general treatment to undoubted works of Jansen," and may well have been a copy of an earlier and authentic portrait dating from Shakespeare's lifetime. At all events it is by far the most artistic of the several old portraits of the poet. INTRODUCTION The Merchant of Venice is a comedy ; that is, a play which deals, for the most part, with the lighter and kind- lier emotions, and concludes happily. Like all other dramas, The Merchant of Venice represents a picture of life by means of dialogue and action. This picture may be presented on the stage and assisted by artful declama- tion, gesture, costuming, and music; in later times by cleverly devised scenery and effects of light as well. In that case it will produce a vivid, if conventional, image of life. Or we may create this picture of life independently of such helps and by means of what Shakespeare calls "imagination's inward eye." In this case our enjoyment will depend on the thoroughness with which we have grasped Shakespeare's meaning, on the taste which we may have acquired by an acquaintance with what is good in literature, on our general knowledge and experience, and on the qualities of mind and heart which make each of us what he is. Shakespeare's plays are the most act- able of all plays ; for Shakespeare was an actor and a manager as well as a dramatist and a poet. Yet many wise men have found a greater pleasure in reading Shake- speare than in seeing his plays on the stage ; for in read- ing for themselves they discovered a truer image of his '3 14 The Merchant of Venice figures and of the events in which they move, and gained a purer pleasure from Shakespeare's wit and wisdom and from the glorious poetry in which he clothes his finest thoughts. It is a quality of good literature to become more precious the better it is known. The Merchant of Venice is a romantic comedy ; that is, one which deals with strange events and with ideal forms of youth and beauty. It ties itself to the occurrences of actual life only so far as to leave its picture true to human nature and experience in a larger sense. The contrasted form is realistic comedy which treats of common life and everyday incident. Shakespeare is a master here as well as in romance, as may be seen by reference to his Merry Wives of Windsor and to the comedy scenes of his plays on King Henry IV. But The Merchant of Venice differs from Shakespeare's earlier romantic comedies, from Love's Labour's Lost, or As You Like It: for by no means are all the emotions involved light and kindly in their nature. Antonio's gloom and contempt for the downtrodden Jew- ish race, Shylock's grim and sinister humour, his bond with its murderous forfeit, and the warring emotions of the great trial scene, these things have in them the essence of tragedy. And there have not been wanting those who have questioned whether this play ought not to have ended in Antonio's death at the hand of Shylock and Shylock's overthrow. It is in this mixture so true to life this mixture of light, love, and mirth with those darker passions that stain human nature, scorn, contempt, and revenge, that The Merchant of Venice is allied to the Introduction 15 later group of Shakespeare's comedies, to Cymbeline, Winter's Tale, and The Tempest, plays often called the " romances." The Merchant of Venice contains two stories, that of the Pound of Flesh, or the Bond Story as it is often called, and the story of the Three Caskets. The first, reduced to its lowest terms, narrates how a merchant signed a bond for money loaned in which it was agreed that, in default of payment at a certain time, the creditor was to cut a pound of flesh from what part of his debtor's body he might choose ; and secondly how, the bond be- ing forfeit, the revengeful creditor was foiled by the quibble that he must draw no blood and must cut only an exact pound. The second story tells of a choice of two or three caskets of differing exteriors containing respec- tively a prize of gold, and some mockery of earth or de- cayed bones, the chooser in no case apparently being a lover. Both stories occur in many versions and variations, and in many different tongues ; and the Bond Story, at least, has been traced back to a very early legend of the Mahabhdrata, the famous epic poem of India. As to Shakespeare, he might have found the sugges- tion for the Story of the Caskets in the Gesta Romano- rum, a collection of stories translated into English as early as 1510-1515. The Story of the Bond much as Shakespeare tells it is found in the Italian novel of Ser Giovanni Fiorentino, entitled // Pecorone and doubtless already known in England before the date of Shakespeare's play, although no translation of a 1 6 The Merchant of Venice sufficiently early date survives to confirm Shakespeare's use of it. Lastly, the very arguments of the trial scene with the rejoinders to those arguments appear in Alexander Sylvain's Orator, printed in 1596. This book may, however, have been written later than Shakespeare's play. But it was a translation from the French. In his choice of material for his plays, Shakespeare generally chose that which was nearest to his hand, provided it was fitted to his purpose. Shakespeare was a practical playwright, writing plays for a pro- fession, acting them and superintending their pro- duction. Moreover no certain line was drawn in those days as to ownership in works of this kind. Plays were the property of the companies of actors, and as such were subject to alteration, adaptation, and rewriting. In 1579, at least ten years before Shakespeare came up to London, a book appeared entitled The Schoole of Abuse. This was the work of Stephen Gosson, who had once been an actor and writer of plays himself, but who in this book attacked the wickedness and the abuses of the stage. But Gosson excepted some plays from his rebuke, among them, to use his words : " The Jew and Ptolome, showne at the Bull, the one representing the greedi- nesse of worldly chusers, and bloody mindes of Usurers: The other," but we are not concerned with the other. In this play thus mentioned by Gosson we have a Jew, a bloody-minded usurer, and Introduction 17 likewise certain " worldly " choosers : plainly the Story of the Bond and that of the Caskets already united and presented on the stage in a play. No scrap of this play has descended to us ; but it is in accord with Shakespeare's practice elsewhere to model his plays on older dramas, for earlier plays not Shakespeare's on the subjects of Measure for Measure, The Taming of the Shrew, and King Lear to mention only these exist to prove it. ' We may therefore accept Gosson's Jew as the probable original of The Merchant of Venice, acknowledging the possibility of Shakespeare's ac- quaintance with the stories as elsewhere told. Though when we say " source " or " original " in any matter connected with these works of the greatest of drama- tists, let us always remember that it was the inanimate material that Shakespeare borrowed, and that the poetry, the magic, and the infinite wisdom of these plays are Shakespeare's own and Shakespeare's alone. The precise date of the first acting of The Merchant of Venice is unknown. The play is mentioned by Francis Meres among other plays of Shakespeare's in the year 1598, in what Meres calls "a comparative discourse of our English poets with the Greeke, Latine, and Italian poets," contained in his Wits Treasury. But some have thought that a play called " Venesyon comodey " (that is, Venice's or the Venetian's Comedy), first acted August 25, 1594, and at the theatre at Newington Butts, was really The Merchant of Venice. Shakespeare's company was acting in conjunction with another troupe of actors MERCH. OF VENICE 2 1 8 The Merchant of Venice at this time and at this theatre ; and plays were often known by different titles. Beside.s, the old stage account-book, in which this entry concerning " Venesyon comodey " was made, was the property of an illiterate old stage manager named Philip Henslowe, who jotted down any title that would remind him of the actual play performed, and spelled in defiance of all rules to suit himself. We may adopt any tim.e we please within the years from 1594 to 1598 as the date of the writing of this comedy of Shakespeare's. And the point is really unimportant, so long as we know and this we do know that The Merchant of Venice was written in the period of Shakespeare's earlier maturity, in the flush of that wonderful success which must have seemed almost like enchantment to the poet himself, as he looked back upon the raw and country-bred lad that he was when he sought employment about the Inns in which plays were given, and compared with that recol- lection the Shakespeare of 1598, a successful actor and part owner in the fine, new Globe Theatre, the friend and companion of the aristocratic and amiable Earl of Southampton, and the darling dramatist of his age. In Shakespeare's day it was the custom for the printers of London to register their intended publica- tions in what was known as the Stationers' (i.e. Book sellers') Register. The printer thus registering was protected in his right to his book, and a check could be kept on the publication of books politically objec- Introduction 19 tionable. The Merchant of Venice was thus registered by one James Roberts in July, 1598, but it was added on the register " Provided that yt bee not prynted by the said James Robertes or anye other whatsoever without lycence first had from the Right honorable the lord Chamberlen." Now in 1598 the Lord Cham- berlain was the patron of the company of actors of which Shakespeare was a member, so that this proviso means that the permission of the owners, Shakespeare and his fellow-actors, must be obtained before The Merchant of Venice could be printed. It was two years before Roberts " perfected his copy " a3 it was called, printing the play under this title : " The Excellent History of the Merchant of Venice. With the extreme cruelty of Shylocke the Jew towards the saide Merchant, in cutting a just pound of his flesh. And the obtaining of Portia, by the choyse of three Caskets. Written by W. Shakespeare." In the same year, 1600, the play was again registered to Thomas Heyes, " by consent of Master Roberts," and printed soon after in an inferior version with a slightly differing title and the addition of the words, "As it hath beene divers times acted by the Lord Chamberlaine his Servants." These two edi- tions are known as the first and second quartos of The Merchant of Venice and were the only editions of his play printed in Shakespeare's lifetime. Of the hundreds of dramas of that productive age kss than half were ever printed. And when a play so appeared it was proof either of unusual popularity, of 2O The Merchant of Venice its having served its purpose on the stage, or of some special interest in the subject-matter aroused by a con- temporary occurrence. For example, a fourth quarto of The Merchant of Venice was printed in 1652 just at the time when the Jews were petitioning Cromwell for readmittance to England, and for the purpose of creat- ing a feeling against them. But as to these earlier edi- tions we may feel sure that it was the popularity of the play which led to its earliest publication, and that the delay after registration was due to the success with which the Chamberlain's men protected their property rights, allowing printing at last only when the comedy had been in use on the stage for some five or six years. In 1623, when John Heminge and Henry Con- dell, Shakespeare's fellow-actors and his survivors in the ownership of his plays, collected his works for the folio edition, The Merchant of Venice 'was again reprinted from a stage copy, as appears from the many stage direc- tions not contained in the quartos. Modern editors con- sider all these editions, but conform the spelling and punctuation .to the modes at present in vogue. Shake- speare's plays were very carelessly printed, because it was against his interest to have the quartos come to press, and also because he did not live to superintend the collection of his works, as did some of his contem- poraries. Moreover, books were in general far more carelessly printed in those days than in these. All of these matters, though interesting, are of minor impor- tance in themselves ; and our enjoyment of Shakespeare Introduction 21 is fortunately dependent neither on dates, sources, nor texts, much less on printers' errors and omissions. We have learned what was the subject of this play, and have seen how it came to be written and approxi- mately when. In his own age Shakespeare was only one, though incomparably the greatest, of a large num- ber of men who made their livings by writing for the stage, by acting, and by conducting dramatic perform- ances at court and in the city. London then contained not many more than one hundred thousand inhabitants ; and yet we hear of no less than five companies acting nearly every day, and producing, on an average, a new play every two weeks. But we must remember that in Queen Elizabeth's time there were no newspapers, no magazines, and no novels such as we have ; nor did the stress and hurry of life cause people to look upon the drama, as we often do, as a mere amusement and relaxa- tion. When an Elizabethan had anything to say he was apt to write a drama, and hence the stage absorbed to itself much of the best and the strongest thought of the age. Nearly all classes, too, frequented the theatre in Shakespeare's younger days ; for Puritanism had not yet become the power that it was destined to become in the following generations, nor had it as yet taken so many of the grave, the serious, and the godly from pas- times, the harmless as well as the dangerous. There- fore Shakespeare appealed to wider sympathies and wholesomer ideals than many of the writers who came after him and who wrote more purely for the fashion 22 The Merchant of Venice able and frivolous classes. Many men wrote plays that endured for their age : Marlowe, Jonson, Fletcher, and others besides. Shakespeare alone seems to have had the power to please and delight his own time and all other times as well, to have written what is almost as vivid and quite as true to-day as it was when he wrote it. The Merchant of Venice stands among the very best comedies of its author and of its age, for its engaging and ever adequate expression, for its beautiful and musical verse, and for the dramatic skill with which the two main stories are interwoven, linked by Jessica's story and heightened by the episode of the rings. But above all this, is the matchless power with which Shake- speare has drawn his characters, each in its % kind and J each true to life and to the mingling of good and evil, of strength and weakness which is inherent in the hu- man kind. Shylock is not all bad, shudder as we must at his hardness of heart and unrelenting pursuit of an ingenious and cruel revenge. Shylock's ring (" I had it of Leah when I was a bachelor," he tells us) remains in the memory as well as the knife sharpened on the sole of his shoe for his deed of blood. Nor is the upright and generous merchant, Antonio, faultless ; for however meritorious his self-confessed affronts of the outcast Jew may have seemed to the groundlings and apprentices of his time, it was not in the great poet's universal charity not to have recognized to the full this blemish which he put on the Christian merchant thereby to enhance as well as to equalize Antonio's struggle against his abused Introduction 23 and malicious, his pathetic if implacable adversary. Bassanio is a professed fortune hunter, gambling on his chances ; yet so swept away and ennobled by his love for Portia that we forget all this in our delight at his success. Did charming, clever Jessica, that strangely undutiful Jewess, deserve a loving husband and a wel- come at Belmont ? Perhaps misfortune and her deserts later overtook her ; though Fortune leaves many a grace- less ingrate unchastised. Did Portia break the spirit, if not the letter, of her father's injunction when she permitted all-conquering Bassanio to win her heart be- fore he attempted his dangerous choice of the caskets? But who can be critical of sound-hearted, adorable Por- tia ? or think of her other than she is, a creature of the poet's brain, wealthily endowed with a reality and an immortality beyond the fondest longings of actual men ind women. We may find Shakespeare's stories, and finding them, #e often stand amazed at the honest faithfulness and respect with which he has followed some third-rate chronicler. We may analyse his plots and lay bare their mechanism from exposition to climax and from catastrophe to conclusion. Furthermore we may count his syllables and measure his verse, and trace out each of his manifold allusions, following painfully where he leaps, sports, and bounds. All these things are neces- sary, for we cannot know too much on which to base an intelligent appreciation of his art, and he will render us in return in proportion as we bring a full mind rather 24 The Merchant of Venice than an empty one to the reading of his plays. But when all has been said, it is Shakespeare's picture of life, his undeviating faithfulness to the realities of this world, whether actual or spiritual, his abounding wisdom and large charity and the sheer poetry that gilds what- ever it touches with the rays of a golden sunshine that make Shakespeare the first poet of the world. nmm DEPARTMENT OF DRAMATIC ART THE MERCHANT OF VENICE DRAMATIS PERSONS THE DUKE OF VENICE. THE PRINCE OF MOROCCO, ) suitors to THE PRINCE OF ARRAGON, j Portia. ANTONIO, a merchant of Venice. BASSANIO, his kinsman, suitor likewise to Portia. SALANIO, ") SALARINO, ( friends to Antonio and GRATIANO, f Bassanio. SALERIO, J LORENZO, in love with Jessica. SHYLOCK, a rich Jew. TUBAL, a Jew, his friend. LAUNCELOT GOBBO, the clown, servant to Shylock. OLD GOBBO, father to Launcelot. LEONARDO, servant to Bassanio. BALTHASAR, / STEPHANO, f servants to Portia - PORTIA, a rich heiress. NERISSA, her waiting-maid. JESSICA, daughter to Shylock. Magnificoes of Venice, Officers of the Court of Justice, Jailor, Servants to Portia, and other Attendants. SCENE: Partly at Venice, and partly at Belmont, the seat of Portia, on the Continent. ACT I SCENE I. Venice. A street Enter ANTONIO, SALARINO, and SALANIO 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 i. In sooth y truly. 25 26 The Merchant of Venice [Act I Salarino. Your mind is tossing on the ocean ; There, where your argosies with portly sail, Like signiors and rich burghers on the flood, 10 Or, as it were, the pageants of the sea, Do overpeer the petty traffickers, That curtsy to them, do them reverence, As they fly by them with their woven wings. Salanio. 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 20 Misfortune to my ventures out of doubt Would make me sad. Salarino. My wind cooling my broth Would blow me to an ague, when I thought 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, 30 And not bethink me straight of dangerous rocks, Which touching but my gentle vessel's side, Would scatter all her spices on the stream, 17. still) ever, always. 19. roads, anchorages. 28. Vailing, lowering. Scene I] The Merchant of Venice 27 Enrobe the roaring waters with my silks, And, in a word, but even now worth this, And now worth nothing? Shall I have the thought To think on this, and shall I lack the thought That such a thing bechanced would make me sad? But tell not me ; I know, Antonio Is sad to think upon his merchandise. 40 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. Salarino. Why, then you are in love. Antonio. Fie, fie ! Salarino. 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 two-headed Janus, 50 Nature hath framed strange fellows in her time : Some that will evermore peep through their eyes And laugh like parrots at a bag-piper, And other of such vinegar aspect That they'll not show their teeth in way of smile, Though Nestor swear the jest be laughable. 38. bechanced, having happened. 42. bottom, ship. 28 The Merchant of Venice [Act ) Enter BASSANIO, LORENZO, and GRATIANO Salanio. Here comes Bassanio, your most noble kinsman, Gratiano and Lorenzo. Fare ye well : We leave you now with better company. Salarino. I would have stay'd till I had made you merry, 60 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. Salarino. Good morrow, my good lords. Bassanio. Good signiors both, when shall we laugh ? say, when ? You grow exceeding strange : must it be so ? Salarino. We'll make our leisures to attend on yours. \Exeunt Salarino and Salanio. Lorenzo. My Lord Bassanio, since you have found Antonio, We two will leave you : but at dinner-time, 70 I pray you, have in mind where we must meet. Bassanio. I will not fail you. 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. 61. prevented, anticipated. 67. strange, infrequent in your visits, 74. respect upon, consideration for. Scene I] The Merchant of Venice 29 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, 4 .80 And let my liver rather heat with wine Than my heart cool with mortifying groans. Why should a man, whose blood is warm within, Sit like his grandsire cut in alabaster ? Sleep when he wakes and creep into the jaundice By being peevish ? I tell thee what, Antonio I love thee, and it is my love that speaks There are a sort of men whose visages Do cream and mantle like a standing pond, And do a wilful stillness entertain, 90 With purpose to be dress 'd in an opinion Of wisdom, gravity, profound conceit, As who should say 'I am, sir, an 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. 82. mortifying, causing death. 89. cream, thicken like scum on tne surface. 89. mantle, cover like a mantle. 90. entertain, main- tain. 91. opinion, reputation. 92. conceit, thought. 30 The Merchant of Venice [Act I I'll tell thee more of this another time : 100 But fish not, with this melancholy bait, For this fool gudgeon, this opinion. Come, good Lorenzo. Fare ye well awhile : . I'll end my exhortation after dinner. Lorenzo. Well, we will leave you then till dinner- time : I must be one of these same dumb wise men, For Gratiano never lets me speak. 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, no Gratiano. Thanks, i' faith, for silence is only com- mendable In a neat's tongue dried . .""..; [Exeunt Gratiano and Lorenzo. Antonio. Is that any thing now ? Bassanio. Gratiano speaks an infinite deal of no- thing, 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, 123 That you to-day promised to tell me of ? 102. gudgeon, a small fish* easily caught. 102. opinion, reputation, 112. neafs tongue, sheep's tongue. Scene I] The Merchant of Venice 3 1 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 abridged From such a noble rate ; but my chief care Is to come fairly off from the great debts Wherein my time something too prodigal Hath left me gaged. To you, Antonio, 130 I owe the most, in money and in love, And from your love I have a warranty To unburden all my plots and purposes How to get clear of all the debts I owe. Antonio. I pray you, good Bassanio, let me know it ; And if it stand, as you yourself still do, Within the eye of honour, be assured, My purse, my person, my extremest means, Lie all unlock'd to your occasions. Bassanio. In my school-days, when I had lost one shaft 140 I shot his fellow of the self-same flight The self-same way, with more advised watch To find the other forth, and by adventuring both I oft found both : I urge this childhood proof, 123. disabled, embarrassed. 124. something, somewhat. 124. swelling port, ostentatious bearing. 129. time, youth. 130. gaged, pledged. 133. plots, plans. 136. still, always. 139. occasions, needs. 140. shaft, arrow. 142. advised, deliberate. 143. adven- turing, risking. 144. childhood, childish. 32 The Merchant of Venice [Act i 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 i5c 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. i6c Bassanio. In Belmont is a lady richly left ; And she is fair and, fairer than that word, Of wondrous virtues : sometimes from her eyes I did receive fair speechless messages : Her name is Portia, nothing undervalued To Cato's daughter, Brutus' Portia : Nor is the wide world ignorant of her worth, For the four winds blow in from every coast 148. self, self-same. 150. shaft-horse. Scene II] The Merchant of Venice 53 hair of his tail than I have of my face when I last saw him. Gobbo. Lord, how art thou changed ! How dost thou and thy master agree ? I have brought him a present. How 'gree you now ? Launcelot. Well, well: but, for mine own part, as I have set up my rest to run away, so I will no not rest till I have run some ground. My master's , a very Jew : give him a present ! give him a halter : I am famished in his service ; you may tell every finger I have with my ribs. Father, I am glad you are come : give me your present to one Master Bassanio, who indeed gives rare new liveries : if I serve not him, I will run as far as God has any ground. O rare fortune ! here comes the man : to him, father ; for I am a Jew, if I serve the Jew any longer. 120 Enter BASSANIO, with LEONARDO and other followers Bassanio. You may do so ; but let it be so hasted that supper be ready at the farthest by five of the clock. See these letters delivered ; put the liveries to making, and desire Gratiano to come anon to my lodging. \Exit a Servant. />> Launcelot. To him, father. Gobbo. God bless your worship ! V Bassanio. Gramercy ! wouldst thou aught with me ? 114. tell, count. 121. hasted, hastened. 125. anon, at once. 128. Gramercy, thank you. 54 The Merchant of Venice [Act II Gobbo. Here's my son, sir, a poor boy, Launcelot. Not a poor boy, sir, but the rich Jew's 130 man; that would, sir, as my father shall spe- cify Gobbo. He hath a great infection, sir, as one would say, to serve Launcelot. Indeed, the short and the long is, I serve the Jew, and have a desire, as my father shall specify, Gobbo. His master and he, saving your worship's reverence, are scarce cater-cousins Launcelot. To be brief, the very truth is that the 140 Jew, having done me wrong, doth cause me, as my father, being, I hope, an old man, shall fru- tify unto you, Gobbo. I have here a dish of doves that I would bestow upon your worship, and my suit is Launcelot. In very brief, the suit is impertinent to myself, as your worship shall know by this honest old man ; and, though I say it, though old man, yet poor man, my father. Bassanio. One speak for both. What would you ? 150 Launcelot. Serve you, sir. Gobbo. That is the very defect of the matter, sir. Bass. I know thee well ; thou hast obtain 'd thy suit : Shylock thy master spoke with me this day, And hath preferred thee, if it be preferment I33 infection, for affection, desire. 142. frutify, for certify. 146. impertinent, for pertinent. 152. defect, for effect. 155. pre- Scene II] The Merchant of Venice 55 To leave a rich Jew's service, to become The follower of so poor a gentleman. Launcelot. The old proverb is very well parted between my master Shylock and you, sir : you have the grace of God, sir, and he hath enough. 160 Bassanio. Thou speak'st it well. Go, father, with thy son. Take leave of thy old master and inquire My lodging out. \To a follower^ Give him a livery More guarded than his fellows' : see it done. Launcelot. Father, in. I cannot get a service, no ; I have ne'er a tongue in my head. Well, if any man in Italy have a fairer table which doth offer to swear upon a book, I shall have good fortune. Go to, here's a simple line of life : here's a small trifle of wives : alas, fifteen wives is nothing ! 170 eleven widows and nine maids is a simple coming- in for one man : and then to 'scape drowning thrice, and to be in peril of my life with the edge of a feather-bed ; here are simple 'scapes. Well, if Fortune be a woman, she's a good wench for this gear. Father, come ; I'll take my leave of the Jew in the twinkling of an eye. \Exeunt Launcelot and Old Gobbo. Bassanio. I pray thee, good Leonardo, think on this: ferr^d, recommended for promotion. 162. inquire . . . out, seek by asking. 164. guarded, trimmed with braid. 176. gear, matter. 56 The Merchant of Venice [Act n These things being bought and orderly bestow'd Return in haste, for I do feast to-night 180 My best-esteem 'd acquaintance : hie thee, go. Leonardo. My best endeavours shall be done herein. Enter GRATIANO Gratiano. Where is your master ? Leonardo. Yonder, sir, he walks. [Exit. Gratiano. Signior Bassanio 1 Bassanio. Gratiano 1 Gratiano. I have a suit to you. Bassanio. You have obtained it. Gratiano. You must not deny me : I must go with you to Belmont. Bassanio. Why then you must. But hear thee, Gratiano ; Thou art too wild, too rude and bold of voice ; 190 Parts that become thee happily enough And in such eyes as ours appear not faults ; But where thou art not known, why, there they show Something too liberal. Pray thee, take pain To allay with some cold drops of modesty Thy skipping spirit, lest through thy wild behaviour I be misconster'd in the place I go to And lose my hopes. 179. orderly, in an orderly manner. 194. liberal licentious. 197. misc Become a Christian and thy loving wife. [Exit. / SCENE IV. The same. A street Enter GRATIANO, LORENZO, SALARINO, and SALANIO Lorenzo. Nay, we will slink away in supper-time, Disguise us at my lodging and return, All in an hour. Gratiano. We have not made good preparation. Salarino. We have not spoke us yet of torch- bearers. I. in, during. Scene IV] The Merchant of Venice 59 Salanio. 'Tis vile, unless it may be quaintly order 'd, And better in my mind not undertook. Lorenzo. 'Tis now but four o'clock : we have two hours To furnish us. Enter LAUNCELOT, with a letter Friend Launcelot, what's the news ? Launcelot. An it shall please you to break up this, 10 it shall seem to signify. Lorenzo. I know the hand : in faith, 'tis a fair hand, And whiter than the paper it writ on Is the fair hand that writ. Gratiano. Love-news, in faith. Launcelot. By your leave, sir. Lorenzo. Whither goest thou ? Launcelot. Marry, sir, to bid my old master the Jew to sup to-night with my new master the Christian. Lorenzo. Hold here, take this : tell gentle Jessica 20 I will not fail her ; speak it privately. \_Exit Launcelot. Go, gentlemen, Will you prepare you for this mask to-night? I am provided of a torch-bearer. Salarino. Ay, marry, I'll be gone about it straight. Salanio. And so will I. 6. vile, worthless. 6. quaintly, artfully, ingeniously. 7. under took, undertaken. 10. An, if. 10. break up t break the seal of. 60 The Merchant of Venice [Act II Lorenzo. Meet me and Gratiano At Gratiano's lodging some hour hence. Salarino. 'Tis good we do so. [Exeunt Salarino and Salanio. Gratiano. Was not that letter from fair Jessica ? Lorenzo. I must needs tell thee all. She hath directed 30 How I shall take her from her father's house, What gold and jewels she is furnish'd with, What page's suit she hath in readiness. If e'er the Jew her father come to heaven, It will be for his gentle daughter's sake : , And never dare Misfortune cross her foot, Unless she do it under this excuse, That she is issue to a faithless Jew. Come, go with me ; peruse this as thou goest : Fair Jessica shall be my torch-bearer. [Exeunt. SCENE V. The same. Before Shy lock's house Enter SHYLOCK and LAUNCELOT Shy lock. Well, thou shalt see, thy eyes shall be thy judge, The difference of old Shylock and Bassanio : What, Jessica ! thou shalt not gormandize, As thou hast done with me : What, Jessica ! And sleep and snore, and rend apparel out : Why, Jessica, I say ! 38. faithless, unbelieving. 5. rend . . . out, tear out, burst. Scene V] The Merchant of Venice 61 Launcelot. Why, Jessica! Shylock. Who bids thee call ? I do not bid thee . call. Launcelot. Your worship was wont to tell me that I could do nothing without bidding. Enter JESSICA Jessica. Call you ? what is your will ? 10 Shylock. I am bid forth to supper, Jessica : There are my keys. But wherefore should I go ? I am not bid for love ; they flatter me : But yet I'll go in hate, to feed upon The prodigal Christian. Jessica, my girl, Look to my house. I am right loath to go : There is some ill a-brewing towards my rest, For I did dream of money-bags to-night. Launcelot. I beseech you, sir, go : my young master doth expect your reproach. 20 Shylock. So do I his. Launcelot. An they have conspired together, I will not say you shall see a mask ; but if you do, then it was not for nothing that my nose fell a-bleeding on Black-Monday last at six o'clock i' the morning, falling out that year on Ash- Wednesday was four year, in the afternoon. Shylock. What, are there masks? Hear you me, Jessica : II. bid for th y invited out. 20. reproach, for approach. 22. An, if. 6i2 The Merchant of Venice [Act n Lock up my doors ; and when you hear the drum And the vile squealing of the wry-neck'd fife, 30 Clamber not you up to the casements then, Nor thrust your head into the public street To gaze on Christian fools with varnish 'd faces, But stop my house's ears, I mean my casements : Let not the sound of shallow foppery enter My sober house. By Jacob's staff, I swear, I have no mind of feasting forth to-night : But I will go. Go you before me, sirrah ; Say I will come. Launcelot. I will go before, sir. Mistress, look out at window, for all this ; 41 There will come a Christian by, Will be worth a Jewess' eye. \Exit. Shylock. What says that fool of Hagar's offspring, hey? Jes. His words were * Farewell mistress ; ' nothing else. Shylock. The patch is kind enough, but a huge feeder ; Snail-slow in profit, and he sleeps by day More than the wild-cat : drones hive not with me : Therefore I part with him, and part with him To one that I would have him help to waste 50 His borrow'd purse. Well, Jessica, go in : Perhaps I will return immediately : Do as I bid you ; shut doors after you : 37. forth, from home. 46. patch, fool. Scene VI] The Merchant of Venice 63 Fast bind, fast find ; A proverb never stale in thrifty mind. [Exit. Jessica. Farewell ; and if my fortune be not crost, I have a father, you a daughter, lost. [Exit. SCENE VI. The same Enter GRATIANO and SALARINO, masked Gratiano. This is the pent-house under which Lor- enzo Desired us to make stand. Salarino. His hour is almost past. M Gratiano. And it is marvel he out-dwells his hour, For lovers ever run before the clock. Salarino. O, ten times faster Venus' pigeons fly To seal love's bonds new-made, than they are wont To keep obliged faith unforfeited ! Gratiano. That ever holds : who riseth from a feast With that keen appetite that he sits down ? Where is the horse that doth untread again 10 His tedious measures with the unbated fire That he did pace them first ? All things that are Are with more spirit chased than enjoy'd. How like a younker or a prodigal The scarfed bark puts from her native bay, 3. out-dwells, outstays. 7. obliged faith, faith bound by con- tract. 10. untread, retrace. 14. younker, stripling. 15. scarfed bark, ship decked with flags. 64. The Merchant of Venice [Act n Hugg'd and embraced by the strumpet wind 1 How like the prodigal doth she return, With over-weather'd ribs and ragged sails, Lean, rent and beggar'd by the strumpet wind ! Salarino. Here comes Lorenzo : more of this here- after. 20 Enter LORENZO Lorenzo. Sweet friends, your patience for my long abode ; Not I, but my affairs, have made you wait : When you shall please to play the thieves for wives, I'll watch as long for you then. Approach ; Here dwells my father Jew. Ho ! who's within ? Enter JESSICA, above, in boy^s clothes Jessica. Who are you ? Tell me, for more certainty. Albeit I'll swear that I do know your tongue. Lorenzo. Lorenzo, and thy love. Jessica. Lorenzo, certain, and my love indeed, For who love I so much ? And now who knows 30 But you, Lorenzo, whether I am yours ? Lorenzo. Heaven and thy thoughts are witness that thou art. Jessica. Here, catch this casket ; it is worth the pains. I am glad 'tis night, you do not look on me, 18. over-weather* d t weather-beaten. 21. abode, tarrying, stay. Scene vi] The Merchant of Venice 65 For I am much ashamed of my exchange : But love is blind and lovers cannot see The pretty follies that themselves commit ; For if they could, Cupid himself would blush To see me thus transformed to a boy. Lorenzo. Descend, for you must be my torch-bearer. 40 Jessica. What, must I hold a candle to my shames ? They in themselves, good sooth, are too too light Why, 'tis an office of discovery, love ; And I should be obscured. Lorenzo. So are you, sweet, Even in the lovely garnish of a boy. But come at once ; For the close night doth play the runaway, And we are stay'd for at Bassanio's feast. Jessica. I will make fast the doors, and gild myself With some more ducats, and be with you straight. 50 [Exit above. ,. Gratiano. Now, by my hood, a Gentile and no Jew. Lorenzo. Beshrew me but I love her heartily ; For she is wise, if I can judge of her, And fair she is, if that mine eyes be true, And true she is, as she hath proved herself, And therefore, like herself, wise, fair and true, Shall she be placed in my constant soul. 42. good sooth, in good truth. 44. obscured, disguised. 45. garnish, costume. 47. close, secret. 48. stafd, awaited. 52. Beshrew me, dear me, verily. MERCH. OF VENICE 5 66 The Merchant of Venice [Act n Enter JESSICA, below What, art thou come ? On, gentlemen ; away I Our masking mates by this time for us stay. \Exit with Jessica and Salarino. Enter ANTONIO Antonio. Who's there ? 60 Gratiano. Signior Antonio I Antonio. Fie, fie, Gratiano ! where are all the rest? Tis nine o'clock : our friends all stay for you. No mask to-night : the wind is come about ; Bassanio presently will go aboard : I have sent twenty out to seek for you. Gratiano. I am glad on't : I desire no more delight Than to be under sail and gone to-night. [Exeunt. SCENE VII. Belmont. A room in Portia's house Flourish of cornets. Enter PORTIA, with the PRINCE OP MOROCCO, and their trains Portia. Go draw aside the curtains and discover The several caskets to this noble prince. Now make your choice. Morocco. The first, of gold, who this inscription bears, ' Who chooseth me shall gain what many men desire ; ' 67. on't, of it. I. discover, disclose. 4. who, which. Scene vii] The Merchant of Venice 67 The second, silver, which this promise carries, 1 Who chooseth me shall get as much as he deserves ; ' This third, dull lead, with warning all as blunt, * Who chooseth me must give and hazard all he . hath.' How shall I know if I do choose the right ? 10 Portia. The one of them contains my picture, prince : If you choose that, then I am yours withal. Morocco. Some god direct my judgement ! Let me see; I will survey the inscriptions back again. What says this leaden casket ? * Who chooseth me must give and hazard all he hath/ Must give I for what ? for lead ? hazard for lead ? This casket threatens. Men that hazard all Do it in hope of fair advantages : A golden mind stoops not to shows of dross ; 20 I'll then nor give nor hazard aught for lead. What says the silver with her virgin hue ? ' Who chooseth me shall get as much as he de- serves.' As much as he deserves ! Pause there, Morocco, And weigh thy value with an even hand : If thou be'st rated by thy estimation, 8. blunt, dull. 14. back again, in inverse order. 20. shows, appearances. 68 The Merchant of Venice [Act II Thou dost deserve enough ; and yet enough May not extend so far as to the lady : And yet to be afeard of my deserving Were but a weak disabling of myself. 30 As much as I deserve ! Why, that's the lady : I do in birth deserve her, and in fortunes, In graces and in qualities of breeding ; But more than these, in love I do deserve. What if I stray'd no further, but chose here ? Let's see once more this saying graved in gold ; * Who chooseth me shall gain what many men desire.' Why, that's the lady; all the world desires her ; From the four corners of the earth they come, To kiss this shrine, this mortal-breathing saint : 40 The Hyrcanian deserts and the vasty wilds Of wide Arabia are as throughfares now For princes to come view fair Portia ; The watery kingdom, whose ambitious head Spits in the face of heaven, is no bar To stop the foreign spirits, but they come, As o'er a brook, to see fair Portia. One of these three contains her heavenly picture. Is't like that lead contains he'r ? 'Twere damna- tion To think so base a thought : it were too gross 50 30. disabling, depreciation. 40. mortal-breathing, endowed with human life. 41. vasty, desolate. 42. throughfares, thoroughfares. t Scene vii] The Merchant of Venice 69 To rib her cerecloth in the 6bscure grave. Or shall I think in silver she's immured, Being ten times undervalued to tried gold ? O sinful thought ! Never so rich a gem Was set in worse than gold. They have in England A coin that bears the figure of an angel Stamped in gold, but that's insculp'd upon; But here an angel in a golden bed Lies all within. Deliver me the key: Here do I choose, and thrive I as I may ! 60 Por. There, take it, prince ; and if my form lie there, ^ Then I am yours. \He unlocks the golden casket. Morocco. O hell 1 what have we here ? A carrion Death, within whose empty eye There is a written scroll ! I'll read the writing. [Reads] All that glisters is not gold ; Often have you heard that told : Many a man his life hath sold But my outside to behold : Gilded tombs do worms enfold. Had you been as wise as bold, 70 Young in limbs, in judgement old, Your answer had not been enscrolPd : Fare you well ; your suit is cold. 51. rib, cover, wrap. 51. cerecloth, waxed cloth used in burial. 53. undervalued, inferior in value to. 57. insculp'd, engraven. 63. Death, Death's head. 65. glisters, glitters. 72. enscroWd written on a scroll. yo The Merchant of Venice [Act n Cold, indeed'; and labour lost : Then, farewell, heat, and welcome, frost 1 Portia, adieu. I have too grieved a heart To take a tedious leave : thus losers part. [Exit with his train. Flourish of Cornets. Portia. A gentle riddance. Draw the curtains, go. Let all of his complexion choose me so. 79 [Exeunt. SCENE VIII. Venice. A street Enter SALARINO and SALANIO i Salarino. Why, man, I saw Bassanio under sail : With him is Gratiano gone along ; And in their ship I am sure Lorenzo is not. Salanio. The villain Jew with outcries raised the duke, Who went with him to search Bassanio's ship. Salarino. He came too late, the ship was under sail: But there the duke was given to understand That in a gondola were seen together Lorenzo and his amorous Jessica : Besides, Antonio certified the duke 10 They were not with Bassanio in his ship. Salanio. I never heard a passion so confused, So strange, outrageous, and so variable, 77. party depart. 4. raised, roused. 10. Certified, assured. 12. passion, passionate outcry. Scene viii] The Merchant of Venice 71 As the dog Jew did utter in the streets : 1 My daughter ! O my ducats ! O my daughter 1 Fled with a Christian ! O my Christian ducats ! Justice ! the law ! my ducats, and my daughter ! A sealed bag, two sealed bags of ducats, Of double ducats, stolen from me by my daughter ! And jewels, two stones, two rich and precious stones, 20 Stolen by my daughter ! Justice ! find the girl ; She hath the stones upon her, and the ducats.' Salarino. Why, all the boys in Venice follow him, Crying, his stones, his daughter, and his ducats. Salanio. Let good Antonio look he keep his day, Or he shall pay for this. Salarino. Marry, well remember'd. I reason'd with a Frenchman yesterday, Who told me, in the narrow seas that part The French and English, there miscarried A vessel of our country richly fraught : 30 I thought upon Antonio when he told me, And wish'd in silence that it were not his. Salanio. You were best to tell Antonio what you hear; Yet do not suddenly, for it may grieve him. Salarino. A kinder gentleman treads not the earth. I saw Bassanio and Antonio part : Bassanio told him he would make some speed 27. reasoned, talked. 30. fraught, freighted. 72 The Merchant of Venice [Act 11 Of his return : he answer'd, ' Do not so ; Slubber not business for my sake, Bassanio, But stay the very riping of the time ; 40 And for the Jew's bond which he hath of me, Let it not enter in your mind of love : Be merry, and employ your chiefest thoughts To courtship and such fair ostents of love As shall conveniently become you there : ' And even there, his eye being big with tears, Turning his face, he put his hand behind him, And with affection wondrous sensible He wrung Bassanio's hand ; and so they parted. Salanio. I think he only loves the world for him. 50 I pray thee, let us go and find him out And quicken his embraced heaviness With some delight or other. Salarino. Do we .so. \Exe SCENE IX. Belmont. A room in Portia 1 s house Enter NERISSA with a Servitor Nerissa. Quick, quick, I pray thee ; draw the curtain straight : The Prince of Arragon hath ta'en his oath, And comes to his election presently. 39. Slubber, slur over. 40. riping, ripening. 42. mind of love, mind occupied with love. 44. ostents, shows. 45. conveniently, suitably. 48. affection ivondrotis sensible, wonderfully sensitive emotion. I. straight, directly. 2. to* en, taken. 3. election, choice. 3. presently, at once. Scene IX] The Merchant of Venice 73 Flourish of Cornets. Enter the PRINCE OF ARRAGON, PORTIA, and their trains Portia. Behold, there stand the caskets, noble prince : If you choose that wherein I am con tain 'd, Straight shall our nuptial rites be solemnized : But if you fail, without more speech, my lord, You must be gone from hence immediately. Arragon. I am en join 'd by oath to observe three things : First, never to unfold to any one 10 Which casket 'twas I chose ; next, if I fail Of the right casket, never in my life To woo a maid in way of marriage : Lastly, If I do fail in fortune of my choice, Immediately to leave you and be gone. Portia. To these injunctions every one doth swear That comes to hazard for my worthless self. Arragon. And so have I addressed me. Fortune now To my heart's hope ! Gold ; silver ; and base lead. 20 ' Who chooseth me must give and hazard all he hath.' You shall look fairer, ere I give or hazard. What says the golden chest ? ha ! let me see : 19. addressed me, prepared myself. 74 The Merchant of Venice [Act n ' Who chooseth me shall gain what many men desire.* What many men desire 1 that * many ' may be meant By the fool multitude, that choose by show, Not learning more than the fond eye doth teach ; Which pries not to the interior, but, like the martlet, Builds in the weather on the outward wall, Even in the force and road of casualty. 30 I will not choose what many men desire, Because I will not jump with common spirits And rank me with the barbarous multitudes. Why, then to thee, thou silver treasure-house ; Tell me once more what title thou dost bear : ' Who chooseth me shall get as much as he de- serves : ' And well said too ; for who shall go about To cozen fortune and be honourable Without the stamp of merit ? Let none presume To wear an undeserved dignity. 40 O, that estates, degrees and offices Were not derived corruptly, and that clear honour Were purchased by the merit of the wearer ! How many then should cover that stand bare 1 27. fond, foolish. 28. martlet, swallow. 30. force, power. 32. jump, agree with. 38. cozen, cheat. 43. purchased, ac- quired, won. 44. cover, wear their hats as masters. Scene IX] The Merchant of Venice 75 How many be commanded that command ! How much low peasantry would then be glean'd From the true seed of honour ! and how much honour Pick'd from the chaff and ruin of the times To be new-varnish'd ! Well, but to my choice : ' Who chooseth me shall get as much as he de- serves.' 50 I will assume desert. Give me a key for this, And instantly unlock my fortunes here. / [He opens the silver casket, f Portia. \Aside~\ Too long a pause for that which you find there. Arragon. What's here ? the portrait of a blinking idiot, Presenting me a schedule ! I will read it. How much unlike art thou to Portia I How much unlike my hopes and my deservings ! * Who chooseth me shall have as much as he deserves.' Did I deserve no more than a fool's head ? Is that my prize ? are my deserts no better ? So Portia. To offend, and judge, are distinct offices And of opposed natures. Arragon. What is here ? [Reads] The fire seven times tried this : Seven times tried that judgement is, That did never choose amiss. 48. ruin, rubbish. 51. assume, take to myself. 76 The Merchant of Venice [Act in Some there be that shadows kiss ; Such have but a shadow's bliss : There be fools alive, i-wis, Silver'd o'er ; and so was this. Take what wife you will to bed, 70 I will ever be your head : So be gone : you are sped. Still more fool I shall appear By the time I linger here : With one fool's head I came to woo, But I go away with two. Sweet, adieu. I'll keep my oath, Patiently to bear my wroth. [Exeunt Arragon and train. Portia. Thus hath the candle singed the moth. O, these deliberate fools ! when they do choose, 80 They have the wisdom by their wit to lose. Nerissa. The ancient saying is no heresy, Hanging and wiving goes by destiny. Portia. Come, draw the curtain, Nerissa. Enter a Servant Servant. Where is my lady ? Portia. Here : what would my lord ? Servant. Madam, there is alighted at your gate A young Venetian, one that comes before To signify the approaching of his lord ; 68. i-wis, assuredly. 81. wit, knowledge, power of mind. Scene I] The Merchant of Venice 77 From whom he bringeth sensible regreets, To wit, besides commends and courteous breath, 90 Gifts of rich value. Yet I have not seen So likely an ambassador of love : A day in April never came so sweet, To show how costly summer was at hand, As this fore-spurrer comes before his lord. Portia. No more, I pray thee : I am half afeard Thou wilt say anon he is some kin to thee, Thou spend'st such high-day wit in praising him. Come, come, Nerissa ; for I long to see Quick Cupid's post that comes so mannerly. 100 Nerissa. Bassanio, Lord Love, if thy will it be ! \Exeunt. ACT III SCENE I. Venice. A street Enter SALANIO and SALARINO Salanio. Now, what news on the Rialto ? Salarino. Why, yet it lives there unchecked that Antonio hath a ship of rich lading wrecked on the narrow seas ; the Goodwins, I think they call the place ; a very dangerous flat and fatal, where the carcases of many a tall ship lie buried, as they say, if my gossip Report be an honest woman of her word. 89. sensible regreets, evident salutations. 90. commends, com- mendations. 92. likely, promising. loo. post, courier. 78 The Merchant of Venice [Act m Salanio. I would she were as lying a gossip in that as ever knapped ginger or made her neigh- 10 hours believe she wept for the death of a third husband. But it is true, without any slips of prolixity or crossing the plain highway of talk, that the good Antonio, the honest Antonio, O that I had a title good enough to keep his name company ! Salarino. Come, the full stop. Salanio. Ha ! what sayest thou ? Why, the end is, he hath lost a ship. Salarino. I would it might prove the end of his losses. 21 Salanio. Let me say ' amen ' betimes, lest the devil cross my prayer, for here he comes in the likeness of a Jew. Enter SHYLOCK How now, Shylock! what news among the merchants ? Shylock. You knew, none so well, none so well as you, of my daughter's flight. Salarino. That's certain : I, for my part, knew the tailor that made the wings she flew withal. 30 Salanio. And Shylock, for his own part, knew the bird was fledged ; and then it is the complexion of them all to leave the dam 10. knapped, broke into small pieces. 32. complexion, dispo- sition, nature. Scene I] The Merchant of Venice 79 Shylock. My own flesh and blood to rebel ! Salarino. There is more difference between thy 41 flesh and hers than between jet and ivory ; more between your bloods than there is between red wine and Rhenish. But tell us, do you hear whether Antonio have had any loss at sea or no ? Shylock. There I have another bad match ; a bankrupt, a prodigal, who dare scarce show his head on the Rialto ; a beggar, that was used to come so smug upon the mart ; let him look to his bond : he was wont to call me usurer ; let him 50 look to his bond : he was wont to lend money for a Christian courtesy ; let him look to his bond. Salarino. Why, I am sure, if he forfeit, thou wilt not take his flesh : what's that good for ? Shylock. To bait fish withal : if it will feed nothing else, it will feed my revenge. He hath disgraced me, and hindered me half a million ; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies ; and what's his reason ? I 60 am a Jew. Hath not a Jew eyes ? hath not a Jew hands, organs, dimensions, senses, affections, passions ? fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian 46. match, bargain. 49. smug, trim, neat. 56. disgraced me, lowered me in public estimation. 8o The Merchant of Venice [Act m is ? If you prick us, do we not bleed ? if you tickle us, do we not laugh ? if you poison us, do we not die ? and if you wrong us, shall we not revenge ? If we are like you in the rest, we will resemble 70 you in that. If a Jew wrong a Christian, what is his humility ? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example ? Why, revenge. The villany you teach me, I will execute, and it shall go hard but I will better the instruction. Enter a Servant Servant. Gentlemen, my master Antonio is at his house and desires to speak with you both. Salarino. We have been up and down to seek him. Enter TUBAL Salanio. Here comes another of the tribe : a 80 third cannot be matched, unless the devil himself turn Jew. [Exeunt Salanio^ Salarino, and Servant. Shylock. How now, Tubal ! what news from Genoa ? hast thou found my daughter ? Tubal. I often came where I did hear of her, but cannot find her. Shylock. Why, there, there, there, there! a dia- mond gone, cost me two thousand ducats in 72. humility, humanity. 81. cannot be matched, cannot be found to match them. 88. cost, that cost. Scene I] The Merchant of Venice 81 Frankfort ! The curse never fell upon our nation till now ; I never felt it till now ; two thousand 90 ducats in that ; and other precious, precious jewels. I would my daughter were dead at my foot, and the jewels in her ear ! would she were hearsed at my foot, and the ducats in her coffin 1 No news of them ? Why so ? and I know not what's spent in the search : why then, loss upon loss ! the thief gone with so much, and so much to find the thief ; and no satisfaction, no revenge : nor no ill luck stirring but what lights on my shoulders ; no sighs but of my breathing ; no tears but of my shedding. 10* TubaL Yes, other men have ill luck too : Antonio, as I heard in Genoa, Shylock. What, what, what ? ill luck, ill luck ? TubaL Hath an argosy cast away, coming from Tripolis. Shylock. I thank God, 1 thank God. Is't true, is't true? TubaL I spoke with some of the sailors that escaped the wreck. no Shylock. I thank thee, good Tubal: good news, good news! ha, ha! here? in Genoa? TubaL Your daughter spent in Genoa, as I heard, in one night fourscore ducats. Shylock. Thou stickest a dagger in me : I shall never see my gold again : fourscore ducats at a sitting ! fourscore ducats ! MERCH. OF VENICE 6 82 The Merchant of Venice [Act ill TubaL There came divers of Antonio's creditors in my company to Venice, that swear he cannot choose but break. 120 Shy lock. I am very glad of it: I'll plague him; I'll torture him : I am glad of it. TubaL One of them showed me a ring that he had of your daughter for a monkey. Shylock. Out upon her 1 Thou torturest me, Tubal : it was my turquoise ; I had it of Leah when I was a bachelor : I would not have given it for a wilderness of monkeys. Tubal. But Antonio is certainly undone. Shylock. Nay, that's true, that's very true. Go, 130 Tubal, fee me an officer ; bespeak him a fortnight before. I will have the heart of him, if he forfeit ; for, were he out of Venice, I can make what merchandise I will. Go, go, Tubal, and meet me at our synagogue ; go, good Tubal ; at our synagogue, Tubal. [Exeunt. SCENE II. Belmont. A room in Portia's house Enter BASSANIO, PORTIA, GRATIANO, NERISSA, and Attendants Portia. I pray you, tarry : pause a day or two Before you hazard ; for, in choosing wrong, I lose your company : therefore forbear awhile. There's something tells me, but it is not love, 120. break, fail. Scene ii] The Merchant of Venice 83 I would not lose you ; and you know yourself, Hate counsels not in such a quality. But lest you should not understand me well, And yet a maiden hath no tongue but thought, I would detain you here some month or two Before you venture for me. I could teach you 10 How to choose right, but I am then forsworn ; So will I never be : so may you miss me ; But if you do, you'll make me wish a sin, That I had been forsworn. Beshrew your eyes, They have o'erlook'd me and divided me ; One half of me is yours, the other half yours, Mine own, I would say ; but if mine, then yours, And so all yours. O, these naughty times Put bars between the owners and their rights 1 And so, though yours, not yours. Prove it so, 20 Let fortune go to hell for it, not I. I speak too long ; but 'tis to peize the time, To eke it and to draw it out in length, To stay you from election. Bassanio. Let me choose ; For as I am, I live upon the rack. Portia. Upon the rack, Bassanio ! then confess What treason there is mingled with your love. r>v Bassanio. None but that ugly treason of mistrust, Which makes me fear the enjoying of my love : SCENE IV. Belmont. A room in Portia's house Enter PORTIA, NERISSA, LORENZO, JESSICA, and BALTHASAR Lorenzo. Madam, although I speak it in your presence, You have a noble and a true conceit Of god-like amity ; which appears most strongly In bearing thus the absence of your lord. But if you knew to whom you show this honour, How true a gentleman you send relief, How dear a lover of my lord your husband, I know you would be prouder of the work Than customary bounty can enforce you. Portia. I never did repent for doing good, 10 Nor shall not now : for in companions That do converse and waste the time together, Whose souls do bear an equal yoke of love, 32. bated, reduced, lowered. 2. conceit, idea, ideal. 7. lover, friend. 12. waste, spend. Scene IV] The Merchant of Venice 99 There must be needs a like proportion Of lineaments, of manners and of spirit ; Which makes me think that this Antonio, Being the bosom lover of my lord, Must needs be like my lord. If it be so, How little is the cost I have bestow'd In purchasing the semblance of my soul 20 From out the state of hellish misery ! This comes too near the praising of myself : Therefore no more of it : hear other things. Lorenzo, I commit into your hands The husbandry and manage of my house Until my lord's return : for mine own part, I have toward heaven breathed a secret vow To live in prayer and contemplation, Only attended by Nerissa here, Until her husband and my lord's return : 30 There is a monastery two miles off ; And there will we abide. I do desire you Not to deny this imposition, The which my love and some necessity Now lays upon you. Lorenzo. Madam, with all my heart : I shall obey you in all fair commands. Portia. My people do already know my mind, And will acknowledge you and Jessica In place of Lord Bassanio and myself. 15. lineaments, features. 25. husbandry, stewardship. 25. manage, management. 33. imposition, task imposed. loo The Merchant of Venice [Act in And so farewell, till we shall meet again. 40 Lorenzo. Fair thoughts and happy hours attend on you ! Jessica. I wish your ladyship all heart's content. Portia. I thank you for your wish, and am well pleased To wish it back on you : fare you well, Jessica. [Exeunt Jessica and Lorenzo. Now, Balthasar, As I have ever found thee honest-true, So let me find thee still. Take this same letter, And use thou all the endeavour of a man In speed to Padua : see thou render this Into my cousin's hand, Doctor Bellario ; 50 And, look, what notes and garments he doth give thee, Bring them, I pray thee, with imagined speed Unto the tranect, to the common ferry Which trades to Venice. Waste no time in words, But get thee gone : I shall be there before thee. Balthasar. Madam, I go with all convenient speed.- [Exit. Portia. Come on, Nerissa ; I have work in hand That you yet know not of : we'll see our hus- bands Before they think of us. 53. tranect, crossing, place of ferriage. Scene IV] The Merchant of Venice 101 Nerissa. Shall they see us ? Portia. They shall, Nerissa ; but in such a habit, 60 That they shall think we are accomplished With that we lack. I'll hold thee any wager, When we are both accoutred like young men, I'll prove the prettier fellow of the two, And wear my dagger with the braver grace, And speak between the change of man and boy With a reed voice, and turn two mincing steps Into a manly stride, and speak of frays Like a fine bragging youth, and tell quaint lies, How honourable ladies sought my love, 70 Which I denying, they fell sick and died ; I could not do withal ; then I'll repent, And wish, for all that, that I had not kilPd them ; And twenty of these puny lies I'll tell, That men shall swear I have discontinued school Above a twelvemonth. I have within my mind A thousand raw tricks of these bragging Jacks, Which I will practise But come, I'll tell thee all my whole device 81 When I am in my coach, which stays for us At the park gate ; and therefore haste away, For we must measure twenty miles to-day. [Exeunt. 63. accoutred, dressed. 67. mincing, short, dainty. 77. raw, crude. IO2 The Merchant of Venice [Act ill SCENE V. The same. A garden Enter LAUNCELOT and JESSICA Launcelot. Yes, truly; for, look you, the sins of the father are to be laid upon the children : therefore, I promise ye, I fear you. I was always plain with you, and so now I speak my agitation of the matter : therefore be of good cheer, for truly I think you are damned. There is but one hope in it that can do you any good ; and that is but a kind of base hope neither. Jessica. And what hope is that, I pray thee ? 10 Launcelot. Marry, you may partly hope that . . . you are not the Jew's daughter. Jessica. That were a kind of ... hope, indeed : so the sins of my mother should be visited upon me. Launcelot. Truly then I fear you are damned both by father and mother : thus when I shun Scylla, your father, I fall into Charybdis, your mother : well, you are gone both ways. 20 Jessica. I shall be saved by my husband ; he hath made me a Christian. Launcelot. Truly, the more to blame he : we were Christians enow before ; e'en as many as could well live, one by another. This making of Chris- tians will raise the price of hogs : if we grow all 5. agitation, for cogitation. 24. enow, enough. Scene V] The Merchant of Venice 103 to be pork-eaters, we shall not shortly have a rasher on the coals for money. Enter LORENZO Jessica. I'll tell my husband, Launcelot, what you say : here he comes. 3 o Lorenzo. I shall grow jealous of you shortly, Launcelot Jessica. Nay, you need not fear us, Lorenzo: Launcelot and I are out. He tells me flatly, there is no mercy for me in heaven, because I am a Jew's daughter : and he says, you are no good member of the commonwealth, for in con- verting Jews to Christians, you raise the price of pork. 39 Lorenzo. I think the best grace of wit will shortly turn into silence, and discourse grow commend- 50 able in none only but parrots^ Go in, sirrah, bid them prepare for dinner. Launcelot. That is done, sir; they have all stomachs. Lorenzo. Goodly Lord, what a wit-snapper are you 1 then bid them prepare dinner. Launcelot. That is done too, sir ; only ' cover ' is the word. Lorenzo. Will you cover then, sir ? 54. stomachs, also meaning appetites. 57,, 'cover? set the tabie, also put on your hat. 104 The Merchant of Venice [Act IV Launcelot. Not so, sir, neither ; I know my duty. Lorenzo. Yet more quarrelling with occasion ! Wilt 60 thou show the whole wealth of thy wit in an in- stant ? I pray thee, understand a plain man in his plain meaning : go to thy fellows ; bid them cover the table, serve in the meat, and we will come in to dinner. Launcelot. For the table, sir, it shall be served in ; for the meat, sir, it shall be covered ; for your coming in to dinner, sir, why, let it be as humours and conceits shall govern. [Exit. Lor. O dear discretion, how his words are suited 1 70 The fool hath planted in his memory An army of good words ; and I do know A many fools, that stand in better place, Garnished like him, that for a tricksy word Defy the matter. How cheer'st thou, Jessica ? And now, good sweet, say thy opinion, How dost thou like the Lord Bassanio's wife ? Jessica. Past all expressing. It is very meet The Lord Bassanio live an upright life ; For, having such a blessing in his lady, 80 He finds the joys of heaven here on earth ; And if on earth he do not mean it, then In reason he should never come to heaven. Why, if two gods should play some heavenly match 60. occasion, opportunity (of quibbling). 74. tricksy ', tricky. 5. cheer' st, forest. Scene I] The Merchant of Venice 105 And on the wager lay two earthly women, And Portia one, there must be something else Pawn'd with the other, for the poor rude world Hath not her fellow. Lorenzo. Even such a husband Hast thou of me as she is for a wife. Jessica. Nay, but ask my opinion too of that. 90 Lorenzo. I will anon : first, let us go to dinner. Jessica. Nay, let me praise you while I have a stomach. Lorenzo. No, pray thee, let it serve for table-talk; Then, howsoe'er thou speak'st, 'mong other things I shall digest it. Jessica. Well, I'll set you forth. \Exeunt ACT IV SCENE I. Venice. A court of justice Enter the DUKE, the Magnificoes, ANTONIO, BASSANIO, GRATIANO, SALERIO, and others Duke. What, is Antonio here ? Antonio. Ready, so please your grace. Duke. I am sorry for thee : thou art come to an- swer 87. Pawn'd, wagered. 89. ofmc> in me. 92. stomach, an appetite, here also the courage. io6 The Merchant of Venice [Act iv A stony adversary, an inhuman wretch Uncapable of pity, void and empty From any dram of mercy. Antonio. I have heard Your grace hath ta'en great pains to qualify His rigorous course ; but since he stands obdu- rate And that no lawful means can carry me Out of his envy's reach, I do oppose 10 My patience to his fury, and am arm'd To suffer, with a quietness of spirit, The very tyranny and rage of his. Duke. Go one, and call the Jew into court. Salerio. He is ready at the door : he comes, my lord. Enter SHYLOCK Duke. Make room, and let him stand before our face. Shylock, the world thinks, and I think so too, That thou but lead'st this fashion of thy malice To the last hour of act ; and then 'tis thought Thou'lt show thy mercy and remorse more strange 20 Than is thy strange apparent cruelty ; And where thou now exact'st the penalty, Which is a pound of this poor merchant's flesh, Thou wilt not only loose the forfeiture, 7. ta'en, taken. 7. qualify, modify. 10. envy's, malice's. 20. remorse, relenting. 22. where, whereas. 24. loose, remit. Scene I] The Merchant of Venice 107 But, touch'd with human gentleness and love, Forgive a moiety of the principal ; Glancing an eye of pity on his losses, That have of late so huddled on his back, Enow to press a royal merchant down AnH pluck commiseration of his state 30 From brassy bosoms and rough hearts of flint, From stubborn Turks and Tartars, never train 'd To offices of tender courtesy. We all expect a gentle answer, Jew. Shy lock. I have possess 'd your grace of what I purpose And by our holy Sabbath have I sworn To have the due and forfeit of my bond : If you deny it, let the danger light . Upon your charter and your city's freedom. You'll ask me, why I rather choose to have 40 A weight of carrion flesh than to receive Three thousand ducats : I'll not answer that : But say, it is my humour : is it answer'd? What if my house be troubled with a rat, And I be pleased to give ten thousand ducats To have it baned ? What, are you answer'd yet ? Some men there are love not a gaping pig ; Some, that are mad if they behold a cat ; Some, when they hear the bag-pipe sings i'th nose: 26. moiety, a part, not necessarily half. 29. Enow, enough. 35. possessed, informed. 46. baned, poisoned. io8 The Merchant of Venice [Act IV i ' . for affection, 50 Master of passion, sways it to the mood Of what it likes or loathes. Now, for your an- swer : As there is no firm reason to be rendered, Why he cannot abide a gaping pig ; Why he, a harmless necessary cat ; Why he, a woollen bag-pipe ; but of force Must yield to such inevitable shame As to offend, himself being offended ; So can I give no reason, nor I will not, More than a lodged hate and a certain loathing 60 I bear Antonio, that I follow thus A losing suit against him. Are you answer'd ?/ Bassanio. This is no answer, thou unfeeling man, To excuse the current of thy cruelty. Shylock. I am not bound to please thee with my answers. Bassanio. Do all men kill the things they do not love? Shylock. Hates any man the thing he would not kill? Bassanio. Every offence is not a hate at first. Shylock. What, wouldst thou have a serpent sting thee twice ? Antonio. I pray you, think, you question with the Jew : 7 53. firm, sound. 68. offence, resentment, also affront 70. question, argue. Scene I] The Merchant of Venice 109 You may as well go stand upon the beach And bid the main flood bate his usual height ; You may as well use question with the wolf Why he hath made the ewe bleat for the lamb ; You may as well forbid the mountain pines To wag their high tops and to make no noise, When they are f retten with the gusts of heaven ; You may as well do anything most hard, As seek to soften that than which what's harder ? His Jewish heart : therefore, I do beseech you, 80 Make no more offers, use no farther means, But with all brief and plain conveniency Let me have judgement and the Jew his will./ Bassanio. For thy three thousand ducats here is six. Shylock. If every ducat in six thousand ducats Were in six parts and every part a ducat, I would not draw them ; I would have my bond. Duke. How shalt thou hope for mercy, rendering none? Shylock. What judgment shall I dread, doing no wrong ? You have among you many a purchased slave, 90 Which, like your asses and your dogs and mules, You use in abject and in slavish parts, Because you bought them : shall I say to you, Let them be free, marry them to your heirs ? 72. main flood, the ocean's tide. 77. fretien, fretted. 82. con reniency, suitability. 83. judgement, sentence. no The Merchant of Venice [Act iv Why sweat they under burthens ? let their beds Be made as soft as yours and let their palates Be season'd with such viands ? You will answer ' The slaves are ours : ' so do I answer you : The pound of flesh, which I demand of him, Is dearly bought ; 'tis mine and I will have it. ioc If you deny me, fie upon your law ! There is no force in the decrees of Venice. I stand for judgement : answer; shall I have it? Duke. Upon my power I may dismiss this court, Unless Bellario, a learned doctor, Whom I have sent for to determine this, Come here to-day. Salerio. My lord, here stays without A messenger with letters from the doctor, New come from Padua. Duke. Bring us the letters ; call the messenger. no Bassanio. Good cheer, Antonio ! What, man, cour- age yet ! The Jew shall have my flesh, blood, bones, and all, Ere thou shalt lose for me one drop of blood. Antonio. I am a tainted wether of the flock, Meetest for death : the weakest kind of fruit Drops earliest to the ground ; and so let me : You cannot better be employ'd, Bassanio, Than to live still and write mine epitaph. 104. Upon my power, on my authority. 106. determine, decide, 1 1 8. still) yet. Scene I] The Merchant of Venice 1 1 1 Enter NERISSA, dressed like a lawyers clerk Duke. Came you from Padua, from Bellario? 119 Nerissa. From both, my lord. Bellario greets your grace. [Presenting a letter. Bassanio. Why dost thou whet thy knife so ear- nestly ? Shylock. To cut the forfeiture from that bankrupt there. \ Gratiano. Not on thy sole, but on thy soul, harsh Jew, Thou makest thy knife keen ; but no metal can, No, not the hangman's axe, bear half the keen- ness Of thy sharp envy. Can no prayers pierce thee? Shylock. No, none that thou hast wit enough to make. Gratiano. O, be thou damn'd, inexecrable dog! And for thy life let justice be accused. Thou almost makest me waver in my faith 130 To hold opinion with Pythagoras, That souls of animals infuse themselves Into the trunks of men : thy currish spirit Governed a wolf, who hang'd for human slaugh- ter, Even from the gallows did his fell soul fleet, 125. hangman's, executioner's. 126. envy, malice. 128. inexe- .rable, that can not be execrated enough. 135. fleet, flit, take flight. 112 The Merchant of Venice [Act IV And, whilst thou lay'st in thy unhallow'd dam, Infused itself in thee ; for thy desires Are wolvish, bloody, starved and ravenous. Shylock. Till thou canst rail the seal from off my bond, Thou but off end 'st thy lungs to speak so loud : 140 Repair thy wit, good youth, or it will fall To cureless ruin. I stand here for law. Duke. This letter from Bellario doth commend A young and learned doctor to our court. Where is he ? Nerissa. He attendeth here hard by, To know your answer, whether you'll admit him. Duke. With all my heart. Some three or four of you Go give him courteous conduct to this place. Meantime the court shall hear Bellario's letter. Clerk. \Reads\ Your grace shall understand 150 that at the receipt of your letter I am very sick : but in the instant that your messenger came, in loving visitation was with me a young doctor of Rome ; his name is Balthasar. I acquainted him with the cause in controversy between the Jew and Antonio the merchant : we turned o'er many books together : he is furnished with my opinion ; which, bettered with his own learning, the great- 140. offencTst, annoyst. 142. cureless, past restoring. 153. lov- tng, friendly. Scene I] The Merchant of Venice 113 ness whereof I cannot enough commend, comes with him, at my importunity, to fill up your 160 grace's request in my stead. I beseech you, let his lack of years be no impediment to let him lack a reverend estimation ; for I never knew so young a body with so old a head. I leave him to your gracious acceptance, whose trial shall better pub- lish his commendation. Duke. You hear the learn'd Bellario, what he writes : And here, I take it, is the doctor come. Enter PORTIA, dressed like a doctor of laws Give me your hand. Came you from old Bel- lario ? Portia. I did, my lord. Duke. You are welcome : take your place. 170 Are you acquainted with the difference That holds this present question in the court? Portia. I am informed throughly of the cause. Which is the merchant here, and which the Jew? Duke. Antonio and old Shylock, both stand forth. Portia. Is your name Shylock ? Shylock. Shylock is my name. Portia. Of a strange nature is the suit you follow ; Yet in such rule that the Venetian law 1 60. fill up, fulfil. 165. whose, for his. 171. difference, dispute. 173. throughly, thoroughly. 178. in such rule, so according to form. MERCH. OF VENICE 8 114 The Merchant of Venice [Act IV Cannot impugn you as you do proceed. You stand within his danger, do you not ? 180 Antonio. Ay, so he says. Portia. Do you confess the bond ? Antonio. I do. Portia. Then must the Jew be merciful. Shylock. On what compulsion must I ? tell me that Portia. The quality of mercy is not s train 'd, It droppeth as the gentle rain from heaven Upon the place beneath ; it is twice blest ; It blesseth him that gives and him that takes : 'Tis mightiest in the mightiest : it becomes The throned monarch better than his crown ; His sceptre shows the force of temporal power, 190 The attribute to awe and majesty, Wherein doth sit the dread and fear of kings \ But mercy is above this sceptred sway ; It is enthroned in the hearts of kings, It is an attribute to God himself ; And earthly power doth then show likest God's When mercy seasons justice. Therefore, Jew, Though justice be thy plea, consider this, That, in the course of justice, none of us Should see salvation : we do pray for mercy ; 200 And that same prayer doth teach us all to ren- der 1 80. danger, power, control. 186. twice blest, endowed with double blessing. 190. shows, is the emblem of. 196. show, ap- pear. 201. render, give as in duty bound. Scene I] The Merchant of Venice 1 1 5 The deeds of mercy. I have spoke thus much To mitigate the justice of thy plea ; Which if thou follow, this strict court of Venice Must needs give sentence 'gainst the merchant / there. / Shy lock. My deeds upon my head ! I crave the law: The penalty and forfeit of my bond. Portia. Is he not able to discharge the money ? Bassanio. Yes, here I tender it for him in the court ; Yea, twice the sum : if that will not suffice, 210 I will be bound to pay it ten times o'er, On forfeit of my hands, my head, my heart : If this will not suffice, it must appear That malice bears down truth. And I beseech you, Wrest once the law to your authority : To do a great right, do a little wrong, And curb this cruel devil of his will. Portia. It must not be ; there is no power in Ven- ice Can alter a decree established : 'Twill be recorded for a precedent, 220 And many an error by the same example Will rush into the state : it cannot be. Shylock. A Daniel come to judgement ! yea, a Daniel ! O wise young judge, how I do honour thee ! 202. spoke, spoken. 214. truth t honesty, honour. n6 The Merchant of Venice [Act IV Portia. I pray you, let me look upon the bond. Shylock. Here 'tis, most reverend doctor, here it is. Portia. Shylock, there's thrice thy money offer'd thee. Shylock. An oath, an oath, I have an oath in heaven : Shall I lay perjury upon my soul? No, not for Venice. Portia. Why, this bond is forfeit ; 230 And lawfully by this the Jew may claim A pound of flesh, to be by him cut off Nearest the merchant's heart. Be merciful : Take thrice thy money ; bid me tear the bond. Shylock. When it is paid according to the tenor. It doth appear you are a worthy judge ; You know the law, your exposition Hath been most sound : I charge you by the law, Whereof you are a well-deserving pillar, Proceed to judgement : by my soul I swear 240 There is no power in the tongue of man To alter me : I stay here on my bond. Antonio. Most heartily I do beseech the court To give the judgement. Portia. Why then, thus it is You must prepare your bosom for his knife. Shylock. O noble judge ! O excellent young man ! Portia. For the intent and purpose of the law 242. on t in dependence on* Scene I] The Merchant of Venice 117 Hath full relation to the penalty Which here appeareth due upon the bond. Shylock. 'Tis very true : O wise and upright judge ! 250 How much more elder art thou than thy looks ! Portia. Therefore lay bare your bosom. Shylock. Ay, his breast : So says the bond : doth it not, noble judge ? ' Nearest his heart : ' those are the very words. Portia. It is so. Are there balance here to weigh The flesh ? Shylock. I have them ready. Por. Have by some surgeon, Shylock, on your charge, To stop his wounds, lest he do bleed to death. Shylock. Is it so nominated in the bond ? Portia. It is not so express 'd : but what of that ? 260 'Twere good you do so much for charity. Shylock. I cannot find it ; 'tis not in the bond. Portia. You, merchant, have you anything to say? Antonio. But little : I am arm'd and well prepared. Give me your hand, Bassanio : fare you well ! Grieve not that I am fallen to this for you ; For herein Fortune shows herself more kind Than is her custom : it is still her use To let the wretched man outlive his wealth, To view with hollow eye and wrinkled brow 270 An age of poverty ; from which lingering penance 257. on your charge, at your expense. 268. still her use t ever her custom. 1 1 8 The Merchant of Venice [Act IV Of such a misery doth she cut me off. Commend me to your honourable wife : Tell her the process of Antonio's end ; Say how I love you, speak me fair in death ; And, when the tale is told, bid her be judge Whether Bassanio had not once a love. Repent but you that you shall lose your friend. And he repents not that he pays your debt ; For if the Jew do cut but deep enough, 280 I'll pay it presently with all my heart. Bassanio. Antonio, I am married to a wife Which is as dear to me as life itself; But life itself, my wife, and all the world, Are not with me esteem 'd above thy life : I would lose all, ay, sacrifice them all Here to this devil, to deliver you. Portia. {Aside'] Your wife would give you little thanks for that, If she were by, to hear you make the offer. Gratiano. I have a wife, whom, I protest, I love : 290 I would she were in heaven, so she could Entreat some power to change this currish Jew./ Ncrissa. [Aside] Tis well you offer it behind her back; The wish would make else an unquiet house. Shylock. \Aside~] These be the Christian husbands. I have a daughter ; 274. process, manner. 277. love, lover, dear friend. 278. re- pent, regret. 281. presently, at once. 283. Which, who. Scene I] The Merchant of Venice 119 Would any of the stock of Barrabas Had been her husband rather than a Christian ! \Aloud] We trifle time : I pray thee, pursue sentence. Portia. A pound of that same merchant's flesh is thine : The court awards it, and the law doth give it. 3or Shylock. Most rightful judge ! Portia. And you must cut this flesh from off his breast : The law allows it, and the court awards it. Shy lock. Most learned judge I A sentence 1 Come, prepare I Portia. Tarry a little ; there is something else. This bond doth give thee here no jot of blood ; The words expressly are * a pound of flesh : ' Take then thy bond, take thou thy pound of flesh; . . But, in the cutting it, if thou dost shed One drop of Christian blood, thy lands and goods Are, by the laws of Venice, confiscate 311 Unto the state of Venice. Gratiano. O upright judge 1 Mark, Jew : O learned judge ! Shy lock. Is that the law ? Portia. Thyself shalt see the act : For, as thou urgest justice, be assured Thou shalt have justice, more than thou desirest. 311. confiscate, confiscated. 120 The Merchant of Venice [Act iv Gratiano. O learned judge ! Mark, Jew : a learned judge ! Shy lock. I take his offer, then ; pay the bond thrice And let the Christian go. Bassanio. Here is the money. Portia. Soft ! 320 The Jew shall have all justice ; soft ! no haste : He shall have nothing but the penalty. Gratiano. O Jew ! an upright judge, a learned judge ! Portia. Therefore prepare thee to cut off the flesh. Shed thou no blood, nor cut thou less nor more But just a pound of flesh : if thou cut'st more Or less than a just pound, be it but so much As makes it light or heavy in the substance, Or the division of the twentieth part Of one poor scruple, nay, if the scale do turn 330 But in the estimation of a hair, Thou diest and all thy goods are confiscate. Gratiano. A second Daniel, a Daniel, Jew ! Now, infidel, I have you on the hip. Portia. Why doth the Jew pause ? take thy forfei- - ture. Shylock. Give me my principal, and let me go. Bassanio. I have it ready for thee ; here it is. Portia. He hath refused it in the open court r He shall have merely justice and his bond. Gratiano. A Daniel, still say I, a second Daniel ! 340 I thank thee, Jew, for teaching me that word. Scene I] The Merchant of Venice 121 Shy lock. Shall I not have barely my principal ? Portia. Thou shalt have nothing but the forfeiture, To be so taken at thy peril, Jew. Shy lock. Why, then the devil give him good of it ! I'll stay no longer here in question. Portia. Tarry, Jew; The law hath yet another hold on you. It is enacted in the laws of Venice, If it be proved against an alien That by direct or indirect attempts 350 He seek the life of any citizen, The party 'gainst the which he doth contrive Shall seize one half his goods ; the other half Comes to the privy coffer of the state ; And the offender's life lies in the mercy Of the duke only, 'gainst all other voice. In which predicament, I say, thou stand'st ; For it appears, by manifest proceeding, That indirectly and directly too Thou hast contrived against the very life 360 Of the defendant ; and thou hast incurr'd The danger formerly by me rehearsed. Down therefore and beg mercy of the duke. Gratiano. Beg that thou m^yst have leave to hang thyself : And yet, thy wealth being forfeit to the state, 352. the which, whom. 352. contrive, plot. 353. seize, take possession of. 360. the very life, life itself. 362. formerly, above. 122 The Merchant of Venice [Act iv Thou hast not left the value of a cord ; Therefore thou must be hang'd at the state's charge. Duke. That thou shalt see the difference of our spirits, I pardon thee thy life before thou ask it: For half thy wealth, it is Antonio's ; 370 The other half comes to the general state, Which humbleness may drive unto a fine. Portia. Ay, for the state, not for Antonio. Shylock. Nay, take my life and all ; pardon not that : You take my house when you do take the prop That doth sustain my house ; you take my life When you do take the means whereby I live. Portia. What mercy can you render him, Antonio ? Gratiano. A halter gratis ; nothing else, for God's sake. Antonio. So please my lord the duke and all the court 380 To quit the fine for one half of his goods, I am content ; so he will let me have The other half in use, to render it, Upon his death, unto the gentleman That lately stole his daughter : Two things provided more, that, for this favour, He presently become a Christian ; 366. left, remaining. 378. render, return. 387. presently, at once. Scene I] The Merchant of Venice 123 The other, that he do record a gift, Here in the court, of all he dies possess 'd, Unto his son Lorenzo and his daughter. 390 Duke. He shall do this, or else I do recant The pardon that I late pronounced here. Portia. Art thou contented, Jew ? what dost thou say? Shylock. I am content. Portia. Clerk, draw a deed of gift. Shy lock. I pray you, give me leave to go from hence ; I am not well : send the deed after me, And I will sign it. Duke. Get thee gone, but do it. Gratiano. In christening shalt thou have two god- fathers. Had I been judge, thou shouldst have had ten more, To bring thee to the gallows, not the font, s 400 [Exit Shy lock. Duke. Sir, I entreat you home with me to dinner. Portia. I humbly do desire your grace of pardon : I must away this night toward Padua, And it is meet I presently set forth. Duke. I am sorry that your leisure serves you not. Antonio, gratify this gentleman, For, in my mind, you are much bound to him. [Exeunt Duke and his train. 389. possess? d t possessed of. 391. recant, revoke. 406. gratify, recompense. 124 The Merchant of Venice [Act iv Bassanio. Most worthy gentleman, I and my friend Have by your wisdom been this day acquitted Of grievous penalties ; in lieu whereof, 410 Three thousand ducats, due unto the Jew, We freely cope your courteous pains withal. Antonio. And stand indebted, over and above, In love and service to you evermore. Portia. He is well paid that is well satisfied ; And I, delivering you, am satisfied And therein do account myself well paid : My mind was never yet more mercenary. I pray you, know me when we meet again : I wish you well, and so I take my leave. 420 Bassanio. Dear sir, of force I must attempt you further : Take some remembrance of us, as a tribute, Not as a fee : grant me two things, I pray you, Not to deny me, and to pardon me. Portia. You press me far, and therefore I will yield. \To Antonio~\ Give me your gloves, I'll wear them for your sake ; \To Bassanio'] And, for your love, I'll take this ring from you : Do not draw back your hand ; I'll take no more ; And you in love shall not deny me this. Bassanio. This ring, good sir, alas, it is a trifle ! 430 I will not shame myself to give you this. 412. cope, meet, requite. 412. withal = with. 421. of forcc^ of necessity. 431. shame, disgrace. 431. to give, by giving. Scene I] The Merchant of Venice 125 Portia. I will have nothing else but only this ; And now methinks I have a mind to it. Bassanio. There's more depends on this than on the value. The dearest ring in Venice will I give you, And find it out by proclamation : Only for this, I pray you, pardon me. Portia. I see, sir, you are liberal in offers : You taught me first to beg ; and now methinks You teach me how a beggar should be answer'd. 440 Bassanio. Good sir, this ring was given me by my wife ; And when she put it on, she made me vow That I should neither sell nor give nor lose it. Portia. That scuse serves many men to save their gifts. An if your wife be not a mad- woman, And know how well I have deserved the ring, She would not hold out enemy for ever, For giving it to me. Well, peace be with you I [Exeunt Portia and Nerissa. Antonio. My Lord Bassanio, let him have the ring: Let his deservings and my love withal 450 Be valued 'gainst your wife's commandement. Bassanio. Go, Gratiano, run and overtake him ; Give him the ring, and bring him, if thou canst, 444. scuse, excuse. 445. An i/= if. 451. commandement commandment. 126 The Merchant of Venice [Act v Unto Antonio's house : away ! make haste. [Exit Gratiano. Come, you and I will thither presently ; And in the morning early will we both Fly toward Belmont : come, Antonio. \Exeunt. SCENE II. The same. A street Enter PORTIA and NERISSA Portia. Inquire the Jew's house out, give him this deed And let him sign it : we'll away to-night And be a day before our husbands home : This deed will be well welcome to Lorenzo. ^ Enter GRATIANO Gratiano. Fair sir, you are well o'erta'en : My Lord Bassanio upon more advice Hath sent you here this ring, and doth entreat Your company at dinner. Portia. That cannot be : His ring I do accept most thankfully : And so, I pray you, tell him : furthermore, 10 I pray you, show my youth old Shylock's house. Gratiano. That will I do. Nerissa. Sir, I would speak with you. \Aside to Portia} I'll see if I can get my hus- band's ring, 455. presently, at once. 5. tfertcten, overtaken. Scene I] The Merchant of Venice 127 Which I did make him swear to keep for ever. Portia. \Aside to Nerissd\ Thou may'st, I warrant. We shall have old swearing That they did give the rings away to men ; But we'll outface them, and outs wear them too. [Aloud] Away ! make haste : thou know'st where I will tarry. Nerissa. Come, good sir, will you show me to this house ? [Exeunt. . PROPERTY OF DEPARTMENT ^BRIATIG ART SCENE I. Belmont. Avenue to Portia's house Enter LORENZO and JESSICA Lorenzo. The moon shines bright : in such a night as this, When the sweet wind did gently kiss the trees And they did make no noise, in such a night Troilus methinks mounted the Troyan walls And sigh'd his soul toward the Grecian tents, Where Cressid lay that night. Jessica. In such a night Did Thisbe fearfully o'ertrip the dew And saw the lion's shadow ere himself And ran dismay'd away. Lorenzo. In such a night Stood Dido with a willow in her hand 10 \28 The Merchant of Venice [Act v Upon the wild sea banks and waft her love To come again to Carthage. Jessica. In such a night Medea gathered the enchanted herbs That did renew old ^Eson. Lorenzo. In such a night Did Jessica steal from the wealthy Jew And with an unthrift love did run from Venice As far as Belmont. Jessica. In such a night Did young Lorenzo swear he loved her well, Stealing her soul with many vows of faith And ne'er a true one. Lorenzo. In such a night 20 Did pretty Jessica, like a little shrew, Slander her love, and he forgave it her. Jessica. I would out-night you, did no body come ; But, hark, I hear the footing of a man. Enter STEPHANO Lorenzo. Who comes so fast in silence of the night ? Stephano. A friend. Lorenzo. A friend! what friend ? your name, I pray you, friend ? Stephano. Stephano is my name ; and I bring word My mistress will before the break of day Be here at Belmont : she doth stray about 30 II. waft, wafted. 16. unthrift, unthrifty. Scene I] The Merchant of Venice 129 By holy crosses, where she kneels and prays For happy wedlock hours. Lorenzo. Who comes with her ? Stephano. None but a holy hermit and her maid. I pray you, is my master yet return 'd ? Lorenzo. He is not, nor we have not heard from him. But go we in, I pray thee, Jessica, . And ceremoniously let us prepare Some welcome for the mistress of the house. Enter LAUNCELOT Launcelot. Sola, sola ! wo ha, ho ! sola, sola ! Lorenzo. Who calls ? 40 Launcelot. Sola ! did you see Master Lorenzo ? Master Lorenzo, sola, sola 1 Lorenzo. Leave hollaing, man : here. Launcelot. Sola ! where ? where ? Lorenzo. Here. Launcelot. Tell him there's a post come from my master, with his horn full of good news : my master will be here ere morning. [Exit. Lorenzo. Sweet soul, let's in, and there expect their coming. And yet no matter : why should we go in ? 50 My friend Stephano, signify, I pray you, Within the house, your mistress is at hand ; 46. post, courier. MERCH. OF VENICE 9 ijo The Merchant of Venice [Act v And bring your music forth into the air. \Exit Stephana. How sweet the moonlight sleeps upon this bank ! Here will we sit and let the sounds of music Creep in our ears : soft stillness and the night Become the touches of sweet harmony. Sit, Jessica. Look how the floor of heaven Is thick inlaid with patines of bright gold : There's not the smallest orb which thou behold 'st 60 But in his motion like an angel sings, Still quiring to the young-eyed cherubins ; Such harmony is in immortal souls ; But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it. / Enter Musicians Come, ho ! and wake Diana with a hymn : With sweetest touches pierce your mistress* ear And draw her home with music. [Music. Jessica. I am never merry when I hear sweet music. Lorenzo. The reason is, your spirits are attentive : 70 For do but note a wild and wanton herd, Or race of youthful and unhandled colts, Fetching mad bounds, bellowing and neighing loud, Which is the hot condition of their blood ; If they but hear, perchance, a trumpet sound, 62. still, continually. 62. quiring, singing in concert. 65. dost . . in, enclose. Scene I] The Merchant of Venice 131 Or any air of music touch their ears, You shall perceive them make a mutual stand, Their savage eyes turn'd to a modest gaze By the sweet power of music : therefore the poet Did feign that Orpheus drew trees, stones and floods ; 80 Since nought so stockish, hard and full of rage, But music for the time doth change his nature. The man that hath no music in himself, Nor is not moved with concord of sweet sounds, Is fit for treasons, stratagems and spoils ; The motions of his spirit are dull as night And his affections dark as Erebus : Let no such man be trusted. Mark the music. Enter PORTIA and NERISSA Portia. That light we see is burning in my hall. How far that little candle throws his beams ! 90 So shines a good deed in a naughty world. Nerissa. When the moon shone, we did not see the candle. Portia. So doth the greater glory dim the less : A substitute shines brightly as a king Until a king be by, and then his state Empties itself, as doth an inland brook Into the main of waters. Music ! hark ! Nerissa. It is your music, madam, of the house. 77. m utual y common. 85. spoils, acts of rapine. 91. naughty -, worthless. 132 The Merchant of Venice [Act V Portia. Nothing is good, I see, without respect : Methinks it sounds much sweeter than by day. 100 Nerissa. Silence bestows that virtue on it, madam. Portia. The crow doth sing as sweetly as the lark When neither is attended, and I think The nightingale, if she should sing by day, When every goose is cackling, would be thought No better a musician than the wren. How many things by season season 'd are To their right praise and true perfection ! Peace, ho ! the moon sleeps with Endymion And would not be awaked. \Music ceases. Lorenzo. That is the voice, no Or I am much deceived, of Portia. Portia. He knows me as the blind man knows the cuckoo, By the bad voice. Lorenzo. Dear lady, welcome home. Portia. We have been praying for our husbands' healths, Which speed, we hope, the better for our words. Are they returned ? Lorenzo. Madam, they are not yet ; But there is come a messenger before, To signify their coming. Portia. Go in, Nerissa-; Give order to my servants that they take 99. without respect, absolutely, without relation to circumstances. 103. attended, heeded, marked. Scene I] The Merchant of Venice 133 No note at all of our being absent hence ; 120 Nor you, Lorenzo ; Jessica, nor you. \A tucket sounds. Lorenzo. Your husband is at hand ; I hear his trumpet : We are no tell-tales, madam ; fear you not. Portia. This night methinks is but the daylight sick ; It looks a little paler : 'tis a day, Such as the day is when the sun is hid. .^ Enter BASSANIO, ANTONIO, GRATIANO, and their followers Bassanio. We should hold day with the Antipodes, If you would walk in absence of the sun. Portia. Let me give light, but let me not be light ; For a light wife doth make a heavy husband, 130 And never be Bassanio so for me : But God sort all ! You are welcome home, my lord. Bassanio. I thank you, madam. Give welcome to my friend. This is the man, this is Antonio, To whom I am so infinitely bound. Portia. You should in all sense be much bound to him, For, as I hear, he was much bound for you. Antonio. No more than I am well acquitted of. 130. heavy, sad. 1 34 The Merchant of Venice [Act V Portia. Sir, you are very welcome to our house : It must appear in other ways than words, 140 Therefore I scant this breathing courtesy. Gratiano. \To Nerissa\ By yonder moon I swear you do me wrong ; In faith, I gave it to the judge's clerk : Would he were dead that had it, for my part, Since you do take it, love, so much at heart. Portia. A quarrel, ho, already ! what's the matter ? Gratiano. About a hoop of gold, a paltry ring That she did give me, whose posy was For all the world like cutler's poetry Upon a knife, ' Love me, and leave me not.' 150 Nerissa. What talk you of the posy or the value ? You swore to me, when I did give it you, That you would wear it till your hour of death And that it should lie with you in your grave : Though not for me, yet for your vehement oaths, You should have been respective and have kept it. Gave it a judge's clerk ! no, God's my judge, The clerk will ne'er wear hair on's face that had it. Gratiano. He will, an if he live to be a man. Nerissa. Ay, if a woman live to be a man. 160 Gratiano. Now, by this hand, I gave it to a youth, A kind of boy, a little scrubbed boy, 156. respective, mindful. 159. an if= if. 162. scrubbed, stunted, undergrown. Scene I] The Merchant of Venice 135 No higher than thyself, the judge's clerk, A prating boy, that begg'd it as a fee : I could not for my heart deny it him. / Portia. You were to blame, I must be plain with you, To part so slightly with your wife's first gift ; A thing stuck on with oaths upon your finger And so riveted with faith unto your flesh. I gave my love a ring and made him swear 170 Never to part with it ; and here he stands ; I dare be sworn for him he would not leave it Nor pluck it from his finger, for the wealth That the world masters. Now, in faith, Grati- ano, You give your wife too unkind a cause of grief : An 'twere to me, I should be mad at it. Bassanio. \Aside~\ Why, I were best to cut my left hand off And swear I lost the ring defending it. Gratiano. My Lord Bassanio gave his ring away Unto the judge that begg'd it and indeed 180 Deserved it too : and then the boy, his clerk, That took some pains in writing, he begg'd mine ; And neither man nor master would take aught But the two rings. Portia. What ring gave you, my lord ? Not that, I hope, which you received of me. 1 76. An "'twere, if it were. 136 The Merchant of Venice [Act V Bassanio. If I could add a lie unto a fault, I would deny it ; but you see my finger Hath not the ring upon it ; it is gone. Portia. Even so void is your false heart of truth. By heaven, I will never be your wife 190 Until I see the ring. Ncrissa. No, nor I yours Till I again see mine. Bzssanio. Sweet Portia, If you did know to whom I gave the ring, If you did know for whom I gave the ring And would conceive for what I gave the ring And how unwillingly I left the ring, When nought would be accepted but the ring, You would abate the strength of your displeas- ure. Portia. If you had known the virtue of the ring, Or half her worthiness that gave the ring, 200 Or your own honour to contain the ring, You would not then have parted with the ring. What man is there so much unreasonable, If you had pleased to have defended it With any terms of zeal, wanted the modesty To urge the thing held as a ceremony ? Nerissa teaches me what to believe : I'll die for't but some woman had the ring. Bassanio. No, by my honour, madam, by my soul, 199. virtue, power. 201. contain, retain, safe keep. 205. mod- csty t moderation. Scene I] The Merchant of Venice 137 No woman had it, but a civil doctor, 210 Which did refuse three thousand ducats of me And begg'd the ring ; the which I did deny him And suffer'd him to go displeased away ; Even he that did uphold the very life Of my dear friend. What should I say, sweet lady? I was enforced to send it after him ; I was beset with shame and courtesy ; My honour would not let ingratitude So much besmear it. Pardon me, good lady ; For, by these blessed candles of the night, 220 Had you been there, I think you would have begg'd The ring of me to give the worthy doctor, x Portia. Let not that doctor e'er come near my house : Since he hath got the jewel that I loved, And that which you did swear to keep for me, I will become as liberal as you ; I'll not deny him anything I have. * . . Nerissa. [Nor] I his clerk; therefore be well ad- vised 234 How you do leave me to mine own protection. Gratiano. Well, do you so : let not me take him then; For if I do, I'll mar the young clerk's pen. 210. civil doctor , doctor of civil law. 211. Which, who. 212. the which, which. 234. well advised, very careful. 138 The Merchant of Venice [Act v Antonio. I am the unhappy subject of these quar- rels. Portia. Sir, grieve not you ; you are welcome not- withstanding. Bassanio. Portia, forgive me this enforced wrong ; 240 And, in the hearing of these many friends, I swear to thee, even by thine own fair eyes, Wherein I see myself Portia. Mark you but that I In both my eyes he doubly sees himself ; In each eye, one : swear by your double self, And there's an oath of credit. Bassanio. Nay, but hear me : Pardon this fault, and by my soul I swear I never more will break an oath with thee. Antonio. I once did lend my body for his wealth ; Which, but for him that had your husband's ring, 250 Had quite miscarried : I dare be bound again, My soul upon the forfeit, that your lord Will never more break faith advisedly. Portia. Then you shall be his surety. Give him this And bid him keep it better than the other. Antonio. Here, Lord Bassanio ; swear to keep this ring. Bassanio. By heaven, it is the same I gave the doctor ! 245. double, twofold, also full of duplicity. 249. wealth, well- being. 250. Which, i.e. my body. 253. advisedly -, deliberately. Scene I] The Merchant of Venice 139 Portia. I had it of him: pardon me, Bassanio; Nerissa. And pardon me, my gentle Gratiano, 260 For that same scrubbed boy, the doctor's clerk. Gratiano. Why, this is like the mending of highways In summer, where the ways are fair enough. Portia. 1 -v . . . . You are all amazed: Here is a letter : read it at your leisure ; It comes from Padua, from Bellario : There you shall find that Portia was the doctor, Nerissa there her clerk : Lorenzo here 270 Shall witness I set forth as soon as you And even but now returned : I have not yet Enter'd my house. Antonio, you are welcome ; And I have better news in store for you Than you expect : unseal this letter soon ; There you shall find three of your argosies Are richly come to harbour suddenly : % You shall not know by what strange accident I chanced on this letter. Antonio. I am dumb. Bassanio. Were you the doctor and I knew you not ? 280 Gratiano. Were you the clerk and yet I knew you not? Antonio. Sweet lady, you have given me life and living ; 277. richly, with rich freight. 277. suddenly y unexpectedly. 140 The Merchant of Venice [Act V For here I read for certain that my ships Are safely come to road. Portia. How now, Lorenzo ! My clerk hath some good comforts too for you. Nerissa. Ay, and I'll give them him without a fee. 290 There do I give to you and Jessica, From the rich Jew, a special deed of gift, After his death, of all he dies possessed of. Lorenzo. Fair ladies, you drop manna in the way Of starved people. Portia. It is almost morning, And yet I am sure you are not satisfied Of these events at full. Let us go in ; And charge us there upon inter 'gator ies, And we will answer all things faithfully. 299 Gratiano. Let it be so Well, while I live I'll fear no other thing So sore as keeping safe Nerissa's ring. \Exeunt. 288. road, harbour. 298. inter* gator ies, interrogatories. NOTES ACT I. SCENE I The opening passages of a play must put the reader in possession of the essentials on which the plot is based : the place, the circum- stances, and the relation of the persons who are to figure in the story. The title has already conveyed to our minds the place, Venice : to the ears of the contemporaries of Shakespeare, the celebrated mart of the East, a synonym for political power, opulence, and glittering barbaric profusion. A merchant of Venice was thus no ordinary man ; but, as Antonio is later called, a " royal merchant," one whose dealings were with kings, and on a scale of magnitude and splendour. In this opening scene the keynote is struck in Antonio's unreasoning sadness; and the cir- cumstance that he has many ships on many seas, together with the thought of the risks of such ventures, is impressed on the reader's mind. Then follows the entrance of Bassanio with his friends, the merry mood of Gratiano contrasting with the melancholy of Antonio; and the scene ends with Bassanio's confession of his hopes as to Portia, and Antonio's generous offer of his credit to further them. We have in this scene Antonio in doubt as to his argosies abroad, but staunch in his friendship ; and we have Bassanio embarked on his project, the winning of Portia. It is out of these two circumstances that the two main stories of the drama grow. Shylock, as the name of a Jew, was known in prose tracts and in a ballad of Shakespeare's time. Its origin may have been in the Italian name, Scialocca. 141 142 Notes [Act i 4. stuff. Compare Tempest, iv. I. 156 : " We are such stuff As dreams are made on." 5. I am [yet] to learn, is the fuller modern phrase. Elizabethan English often thus omits a word. Compare The 7wo Gentlemen of Verona, ii. I. 59. 8. ocean. Pronounced as three syllables. 9. argosies. An argosy was usually a large merchantman ; and the word was probably derived from the town of Ragusa or Arragosa, which enjoyed a large trade with England in the six- teenth century. ii. pageants. The pageant was the stage on which the old popular plays were acted in the streets. The word was often used of the plays themselves. Shakespeare here likens the lofty merchantmen with sails spread to these tall and decorated structures. 13. curtsy. "Suggested by the rocking, ducking motion in the petty traffiquers caused by the wake of the argosy as it sails past them" (Furness). 15. venture. What is risked in a merchant's voyage. 1 8. Plucking the grass, to test the direction of the wind by dropping it from the hand. 25. hour-glass. An hour-glass, placed near the pulpit, was commonly used to mark the duration of the sermon in Shake- speare's day. 27. Andrew, the name of the ship. 35. worth this. The thought is probably here completed by a gesture of the actor. 50. Janus, the Roman guardian deity of gates, represented with two heads because every door looks two ways. 56. Nestor, the oldest and hence the gravest of the heroes. 67. You grow exceeding strange. Compare the modern, " You are becoming quite a stranger." Scene I] Notes 143 67. must it be so? Must you really go? or, perhaps, Must you continue such a stranger? 74. You have too much respect upon the world. You have too much regard for the world's opinion. 75. They lose it. It here refers to the opinion of the world. 78. a stage, etc. Compare the famous passage : " All the world's a stage," As You Like It, ii. 7. 139. 79. play the fool. The fool, with his cap, bells, and bauble, was a favourite character in the old comedy. 84. grandsire cut in alabaster, an allusion to the tombs of old time, of which a stone or alabaster figure of the deceased formed a conspicuous part. 85. jaundice. This disease was supposed to cause everything to appear yellow to the person afflicted with it. Compare Troilus and Cressida, i. 3. 2. 89. cream and mantle, thicken in scum on the surface and comr pletely cover. Notice the Elizabethan freedom which compels the noun, without change in form, to do service as a verb. 93. As who shall say, in modern phrase, "As if one should say." An old idiom very common in Shakespeare. See below, i. 2. 50. 93. I am, sir, an oracle. This is the reading of the folios; the quartos read Sir Oracle. 96,97. reputed wise For saying nothing. Compare Proverbs, xvii. 28: " Even a fool when he holdeth his peace is counted wise; and he that shutteth his lips is esteemed a man of understanding." 98. If they should speak, [they] would, etc. Shakespeare often omits the nominative when the sense will easily supply it, as here. See Hamlet, ii. 2. 67; iii. I. 8. This passage contains an allusion to Matthew, v. 22 : " Whosoever shall say to his brother . . ' Thou fool/ shall be in danger of hell fire." 101. melancholy bait, i.e. melancholy as a bait. 125. continuance, i.e. continuance of. 126. make moan to be abridged, complain that I am cut short. 144 Notes [Acti 137. Within the eye of honour, within the limits of what can be considered honourable. 139. occasions, to be pronounced as four syllables. The termi- nations ion and ian are commonly pronounced as two syllables; see ocean above, i. i. 8. 141. fellow of the self-same flight, an arrow of the same length, weight, and feathering, calculated to carry the same distance. 143. To find the other forth, to find out the other. Compare Comedy of Errors, i. 2. 37. This line is two syllables longer than the usual decasyllabic line of English blank verse ; but it runs easily off the tongue in precisely the interval of time required for a verse of ten syllables. Shakespeare wrote for the ear, and not for the eye; and these " irregularities," as they are sometimes called, are not only true to the speech of his day, but are often real beauties from the variety which they give to the versification. 145. pure innocence, childish foolishness. Bassanio is anxious that his friend, Antonio, shall understand that he himself fully appreciates the real folly of his plan to throw good money after bad. 156. In making question of my uttermost, in doubting my readi- ness to do my utmost in your service. 165, 1 66. nothing undervalued To . . . Brutus' Portia, i.e. when brought to the side of, and compared with Brutus's Portia. See below, ii. 7. 53. Portia, wife of Brutus, a woman of renown for her greatness of spirit, figures in Shakespeare's Julius Casar. 171. Colchos* strand, in allusion to the story of Jason, the famous leader of the Argonauts, who sought and found the golden fleece in Colchos by the aid of Medea, whom he made his wife and brought back to Greece. 175. a mind presages. Note the omission of the relative, a com- mon Shakespearian idiom. See Measure for Measure, ii. 2. 23; Richard II, ii. 2. 128. 185. of my trust or for my sake, in consequence of my credit or for the sake of my friendship. Scene II] Notes 145 ACT I. SCENE II Belmont. Most of the directions as to place and scene in the plays of Shakespeare have been added by modern editors. In the old editions the reader was left to infer both from the words of the text. Belmont is supposed to have been situated near the Brenta, a fair stream of the continent, on the banks of which were many of the palaces of the magnificoes of Venice. The highway from Venice to Padua must have run near. In this scene we learn the conditions under which Portia can alone be won, and find her heart-whole as to any of her suitors. But Portia is not wholly fancy-free, for on Nerissa's mention of " a Venetian, a scholar and a soldier> that came hither in company of the Marquis of Montferrat," and " in your father's time," Portia remembers his name, Bassanio, and that he "was worthy of thy praise.'* This touch shows Bassanio no mere adventurer, but a gentleman accredited by his station in a nobleman's train and by the acceptance of Portia's own father; and prepares us for what might otherwise seem that lady's sudden and unaccountable preference for Bassanio. 7, 8. no mean happiness . . . in the mean. It is no happiness to be despised, therefore, to be stationed in life between the extremes of poverty and overabundant wealth. Shakespeare shared with his age a fondness for playing on words. See below, lines 26, 27, the will [wish, desire] of a living daughter curbed by the will [testament] of a dead father. 28. cannot choose one nor refuse none. In modern English, " Can neither choose one nor refuse any." Nor is often used after not. See Macbeth, ii. 3. 69: "Tongue nor heart cannot conceive nor name thee." For the double negative, see King John, v. 7. 1 1 2. 35. No doubt you will never be chosen, etc. Compare Portia's words to Bassanio, below (iii. 2. 41): "If you do love me, you will find me out." This is the reading of the first quarto of The Merchant of Venice; that of the folio is inferior. MERCH. OF VENICE IO 146 Notes [Act i 44. a colt, a wild, headstrong youth. As the Neapolitans were notably skilled in horsemanship in Shakespeare's day, there is a play on the word colt. 50. as who should say. Compare i. I. 93, above, and the note thereon. 51. * If you will not have me, choose ' [whom you will, and regret youi choice]. The sense is plainly: " Whom could you think of choosing beside such a paragon as I ? " 53. the weeping philosopher, Heraclitus of Ephesus, who flourished about 500 B.C. 58. How say you by the French lord. What say you with refer- ence to, etc. See below, ii. 9. 26: " By the fool multitude" ; and compare the phrase : " Do as you would be done by " [i.e. with refer- ence to]. 66. a capering. A is often equal to " on " before verbal nouns. Compare King Lear,v. 3. 274: "The slave that was a hanging there." 73. Portia playfully twists Nerissa's word, say, into a different sense. 76. a poor pennyworth in the English, little knowledge of the English tongue. 80. doublet . . . round hose. The doublet was the close-fitting jacket worn by men in Shakespeare's day. The familiar figure, Punch, still wears a doublet. Round hose were trousers made very large and sometimes stuffed, or "bombasted," as it was called, to make them stand out. 81. bonnet, commonly used for a man's hat. See Richard II, i. 4. 31 : " Off goes his bonnet to an oyster-wench." 88. the Frenchman became his surety. In allusion to the assist- ance frequently offered by France to Scotland in her quarrels with England, before the union of the two countries under Elizabeth's successor, King James. 89. sealed under for another [box on the ear]. The principal, or person entering into a bond, was said to "seal to" the bond; Scene II] JNotCS 147 his surety, i.e. the man who agreed to pay the debt if the principal did not, was said to " seal under." loo. you should refuse to perform, in modern usage, " You would refuse." Should is the past tense of shall, and has undergone the same modifications of meaning. Should is not now used with the second person to denote mere futurity, because it suggests a duty if not a compulsion. But we retain this use of should in the con- ditional clause, "If you should refuse," because there can be no question of compulsion in that case. Shakespeare did not make this distinction. 109. the having. The article often precedes a verbal noun when the latter is followed by an object, as here. Compare Macbeth, i. 4, 7 : " Nothing in his life Became him like the leaving it. " 113. by some other sort, by some other method or manner. 114. your father's imposition, the condition imposed by your father. 116. Sibylla, used erroneously by Shakespeare as a proper name. There were several prophetic women known as sibyls in ancient times. Of them the Cumaean sibyl, consulted by ^Eneas, was the most famous. It was this sibyl that obtained from Apollo a prom- ise that her years should be as many as the grains of sand she was holding in her hand. 134. four strangers, six were enumerated. The plays of Shake- speare's time were subject to constant revision, and sometimes little inadvertences, such as this, remain. There may have been but four suitors named in an earlier version of this play. 140, 141. so . . . as. As is a contraction of ail-so (alse, als, as}. We still say : " As I expected so it happened." The Elizabethans frequently used the reverse order. See Romeo and Juliet, i. I. 140: "All so soon as." 146, 147. It is a common device of plays of this time to end a scene with a rhyming couplet, as here. This has been supposed by some to offer a cue to the opening of a new scene, but as such rhyming tags occur elsewhere this is not certain. 148 Notes [Act i ACT I. SCENE III "Shylock enters with slow, shuffling gait; restless, half-closed eyes, and the fingers of his disengaged hand (one holds a staff) ever moving, as if from the constant habit of feeling and caressing the ducats that are passing through them " (Booth). The Jews of Venice were distinguished by orange-tawny and scarlet and black hats, as they were Levantine or Italian Jews. In Shakespeare's day Shylock was probably represented in the costume of the Eng- lish Jews and money-lenders of that time, a more or less sombre gown or gaberdine, furred in winter, covering the customary doublet and hose, and perhaps distinguished by some such cap as that just mentioned. The addition of earrings, which were commonly worn by men in Shakespeare's day, and of finger and thumb rings would be quite in keeping. Shylock leans on a staff not because he is infirm, but because of a premature stoop, the result of much leaning over his desk and money-bags. In this scene the bargain is struck between Shylock and Antonio, and the exposition, as it is called, that part of a play that makes clear the circumstances on which the story is founded and the rela- tions of the characters, is complete. Shylock's hatred of Antonio is fully set forth, but not without Antonio's plain avowal, on the other hand, of the contempt and insult with which he had always treated the Jew. It is Antonio that is made to suggest the loan as made not to a friend, but to an enemy; but it is Shylock who after all has guided the whole transaction and who suggests the " merry sport," a forfeit of a pound " of your fair flesh." In Bas- sanio's words : " You shall not seal," and " I like not fair terms and a villain's mind," we have the foreboding and dramatic fore- shadowing of Shylock's terrible claim to come. I. ducats. A Venetian ducat was a gold coin varying in value, but worth roughly about an American dollar. 4. the which, the article is frequently thus employed to make Scene III] Notes 149 clearer the reference to its antecedent, where it would not be so used in modern English. See below, iii. 4. 34, and compare the phrases, " at the least, at the length." 7. May you stead me ? Are you willing to assist me? 1 8. in supposition, doubtful because exposed to the hazards of the sea. 1 8. argosy, see above, i. 1.9. 20. the Rialto, "an eminent [i.e. lofty] place in Venice," says Florio {Italian Dictionary, 1611), "where marchants commonly meete," as on the Exchange at London. 25. pirates, a very real peril of the sea, especially of the Mediter- ranean, in Shakespeare's day. 35. See Matthew, viii. 32 : " And when they [the devils] were come out, they went into the herd of swine." 42. fawning publican. The thought in Shakespeare's mind here is evidently the contrast in Luke, xviii. 10-14, between the publican and the pharisee, Shylock showing the contempt of the latter for the publican's attitude of humility. 46. usance, interest. "It is almost incredible what gain the Venetians receive by the usury of the Jews, both privately and in common. For in every city the Jews keep open shops of usury, taking gages of ordinary for fifteen in the hundred by the year {i.e. charging interest at the rate of fifteen per cent]." Thomas's History 'e of Italy e, 1561. See also Bacon's Essay on Usurie, in which such popular sayings as " the usurer is a drone," that " it is against nature for money to beget money," and that "usurers should have orange-tawny bonnets because they do judaize," are quoted with the sensible comment : " For since there must be bor- rowing and lending, and men are so hard of heart as [that] they will not lend freely [without interest], usury must be permitted." 47. catch . . . upon the hip, a wrestlers' phrase for " to have at a disadvantage." See below, iv. I. 334. 52. interest, a word conveying insult, like others concerning the trade of money-lending. 1 50 Notes [Act I 60. Rest you fair, good signior. Shylock, turning from his words addressed to Bassanio, affects surprise and addresses Antonio obse- quiously but with a tone of irony in his voice. 63. excess, the amount above the actual sum loaned, the interest. 72. When Jacob, etc. See Genesis, xxx. 74. As [For so] his wise mother. See Genesis, xxvii. 79. were compromised, had come to a mutual agreement. 95. inserted, i.e. in the Scriptures. 97. / make it [i.e. money] breed. Compare the words quoted from Bacon above line 46. 98-103. Mark you this, etc. Antonio speaks aside to Bassanio while Shylock pretends to be considering their proposition. 99. The devil can cite Scripture. See Matthew, iv. 4, 6, where Psalm, xci. is so quoted. 1 08. Rialto. See above, i. 3, 20. 109. my moneys and my usances, my practice of lending money at interest. 112. call [are in the habit of calling] me . . . dog. 113. Jewish gaberdine. It does not appear that the gaberdine was distinctively a mark of Jewish costume. It means here doubt- less no more than Shylock's outer garment or cloak. 131. In a ruder age such acts as these, self-confessed by Antonio, would be regarded as natural if not meritorious as against a despised and hated race. None the less in these two lines Shakespeare has contrived at once to give the reason for Shylock's later implacability and to stir in every kindly heart a certain amount of sympathy for the Jew's outrageous wrongs. 135. A breed of barren metal, i.e. interest derived from money, a thing which, according to Antonio's ideas, should not be made to breed. The phrase alludes to Shylock's illustration of usury from the Bible, and is an additional insult to the Jew. Notice that the notion of lending " to thine enemy " is first put into words by Antonio. 137. Who, if he break. The use of the relative with no verb to Scene III] Notes 151 follow as here was not infrequent. See Bacon, Advancement of Learning: " Which though it be not true, yet I forbear to note any deficiencies." 1 38. Why, look you, etc. Shylock controls himself lest he lose the loan, and with it the opportunity of revenge. 141. doit, a trifling coin worth about half a farthing, or the fourth of an American cent. 146. single bond, literally a bond to which no condition is at- tached. " Give me your bond without any condition, at least, none worthy of the name or to be legally enforced, though for the joke of the thing we will say that I am to have a pound of your flesh if you fail to pay up at the appointed time' 1 (Rolfe). 153. r II seal. Addressed to Bassanio. 162. dealings teaches. It is not uncommon to find thus appar- ently the singular verb used with a plural subject. The form of the verb in many of these cases is really an old northern plural in es. 162. teaches tJiem [to] suspect. The omission of to before the in- finitive is very common. See below, ii. 7. 43 : " To come view fair Portia." 164. break his day, fail to pay on the appointed day. 1 68. muttons, beefs. Both of these plurals are elsewhere used by Shakespeare. 171. for my love, in consideration of the kindness I now show you, do not impute any wrong motives to me. 1 76. fearful guard, a guard about whose trustworthiness fear is to be entertained. ACT II. SCENE I. The old stage direction reads : " Enter Morochus a tawnie Moore all in white, and three or foure followers accordingly, with Portia, Nerrissa, and their traine. Flo[urish of] Cornets." Tawnie was a yellowish dark color. All in white alludes to the appropriate cos- 152 Notes [Act ii tume of the Moor. The Prince of Morocco enters to the sound {flourish) of martial music. This scene represents only the prelim- inary meeting of Portia and the Prince; his choice is deferred to Scene VII of this act. 7. reddest, the superlative was often used as a comparative. Com- pare / Henry VI, ii. 4. 14 : " Between two horses which doth bear him best." Red blood was considered a proof of courage. 8. aspect. Stress on the last syllable, like many other Eliza- bethan words, now pronounced with the accent on the first. 13. In terms of choice, in the matter of choosing [a husband]. 19. His wife who wins. The possessive formerly, having the greater powers of a genitive case, could be used as the antecedent of a relative, as here. 20, 21. as fair As any. This absolutely truthful statement of Por- tia (who means that the Prince, were she free to choose, stands as fair a chance of winning her as any of the suitors whom she has already refused) conveys a very different meaning to his majesty of Morocco; who, taking it to himself as it was intended that he should thanks Portia for her civility. Notice the play on the word fair, which means on equal terms with the rest, but also refers to the Prince's color, which Portia assures him is not to bar him from an equal chance with other fairer suitors. 25. Sophy, commonly used to denote the ruler of Persia, though originally meaning only a wise man. 26. Solyman was the greatest Sultan of Shakespeare's century. A romantic drama like this does not demand historical accuracy in its references. But this allusion is doubtless to Solyman 's disas- trous campaign against the Persians in 1535. 31. alas the while! literally, "Alas for the present condition of things ! " Here equal to alas ! 32. Hercules and Lichas. Lichas was the servant and hence the page (line 35 below) of Hercules, who, unknowing, brought that hero the garment poisoned with the blood of the Centaur, Nessus, by the wearing of which Hercules lost his life. Scene II] Notes 153 35. Alcides. Hercules was so called from his stepfather's father, Alcaeus. 43. Nor will not. A double negative in a negative sense, mean- ing, Nor will I speak to lady afterward, etc. See above, i. 2. 28 : " Nor refuse none." 44. to the temple, the place in which the Prince's choice of the caskets was to be made; perhaps no more than a temple-like structure in which the caskets were placed. 46. blest or cursed 'j/, most blessed or most cursed. It is no un- common idicrri of Elizabethan writers tlms ' to attach terminations to one adjective which affect others." Compare Measure for Meas- ure, iv. 6. 13: "The generous and gravest citizens." ACT II. SCENE II The old stage direction reads : " Enter the Clowne alone." This term, like the term fool, was carelessly employed in Shakespeare's time. Launcelot is neither a fool nor a clown within the strict meaning of either word. The student is advised not to try too narrowly to make sober sense out of Shakespeare's inimitable non- sense. Logic is not Launcelot's forte; and as to some of his phrases, we may well echo Dr. Furness's warning in the words of Bottom : " Man is but an ass if he go about to expound this." In this scene Launcelot changes his service from Shylock to Bassanio, and Gratiano is granted his suit to accompany Bassanio to Belmont. 9. scorn running with thy heels. To scorn a thing with the heels, to kick at it, was a proverbial saying. Compare Much Ado About Nothing, iii. 4. 51 : "I scorn that with my heels." 11. Via! Italian for away ; and very commonly employed. 12. for the heavens, for heaven's sake. 17. did something smack [of the knave]. . . grow to, has been explained as " a household phrase applied to milk when burnt to the bottom of the saucepan, and thence acquiring an unpleasant taste," 154 Notes [Act ii 25. God bless [or save] the mark, is used as a parenthetical ex- cuse for the use of a profane or disrespectful word. Launcelot is here waggishly apologizing for using the word devil. Compare the clause, " Saving your reverence," below, line 27, used in precisely the same manner. 29. incarnal, Launcelot means incarnate. The " nice derange- ment of epitaphs," as Mrs. Malaprop afterwards called this use of a word of similar sound but of different sense for ludicrous effect, is very common in the old drama. 37. sand-blind, purblind, half-blind. Compare stone-blind, wholly blind; high-gravel-blind 'is of course Launcelot's jest. 39. confusions, Launcelot's word for conclusions; but Laun- celot's conclusions are confusions, as the rest of this interview dis- closes. 44. marry, originally Mary, a remnant like by'r Lady (by our Lady), God's sonties below, and dear me (Deus meus} of a ruder age in which everyday conversation was interlarded with oaths. These terms had by Shakespeare's day ceased to have more force than mere exclamatory phrases or expletives. 47. sonties. Variously derived from sanctities or from saints, saunties, little saints. Compare by'r Lakin, " by our Ladikin." 55. well to live, with every prospect of living long. 58. Your worship's friend and Launcelot, sir. Launcelot whimsically endeavours to get his father to speak of him as Master Launcelot, which his father is unwilling to do out of respect for his " worship," whom he thinks he is addressing. 59. But I pray you, ergo, old man. Launcelot is not without some sense of the meaning of the learned word which he uses. / pray you, ergo [for that reason, because he is my worship's friend, call him] Master Launcelot. But enough : Launcelot is trying his " confusions " on us as well as on his father. 64. father, a general term used in addressing old men. Gobbo does not as yet recognize his mischievous son. 82. give me your blessing. Here, according to an old stage Scene II] Notes 155 tradition, Launcelot kneels with his back to his father, who, grop- ing about, touches his son's long hair, and mistaking it for a beard, of which Launcelot has no sign, says, " Pray you, sir, stand up : I am sure you are not Launcelot, my boy." See below lines 86-91. no. set up my rest, a phrase taken from the fashionable game of primero, signifying, to stand by the cards one has in one's hand; and hence to determine, make up one's mind. 115. give me [i.e. for my benefit] your present. The old dative of the personal pronoun is often used where we should use for me or to me\ sometimes where the word would seem unneces- sary to the modern reader. Compare the phrase, " Do me a favour." 115. your present. Old Gobbo is the bearer of a gift from the country to Shylock, Launcelot's master. This gift Launcelot diverts to Bassanio, with whom he desires to take service. 119. I am a Jew. An asseveration used elsewhere. Compare Much Ado About Nothing, ii. 3. 272 : " If I do not love her, I am a Jew." 121. The old editions read, " Enter Bassanio with a follower or two." 123. put the liveries to making, have the liveries made. The old termination en was often confused with ing in Elizabethan English. 128. Cramer cy ! French grand merci, much thanks. 139. cater-cousins, a word of doubtful derivation and original meaning, applied to persons on intimate terms with each other, and used occasionally as if synonymous with cousins-germain. It has been thought that the word is connected with cate or cake, and caterer ; and means mess-fellows. j$8. The old proverb. Launcelot alludes to the saying, "The grace of God is gear [wealth] enough." 1 66. Well, if any man, etc. Table is the palm of the hand in chiromancy or palmistry. Take the relative which as referring to table and in the causal relation equivalent to for it doth. The 1 5 6 Notes [Act ii meaning of the passage then is : There is no hand in Italy offering fairer signs of palmistry than mine, for it doth offer to swear upon a book that I shall have good fortune. 169. Go to, equivalent to our Come, come. To is here an ad- verb. Compare its use to " to and fro," and the nautical expres- sions, " heave to, come to." 169. a simple line of life, literally a mean, poor line of life. But Launcelot is speaking ironically in reference to his good fortune. The line of life is the circular line surrounding the thumb. The table line or line of fortune runs from the forefinger, below the other three fingers, to the side of the hand. Launcelot pretends to be reading his own fortune by palmistry, and discovers that he is to be married fifteen times, and other like matters. 178. Notice how the play falls again into blank verse with the departure of the low comedy of Launcelot from the scene. 196. skipping spirit. We should say vivacious or frivolous temper. Compare / Henry IV, iii. 2. 60 : "The skipping king, he ambled up and down." Spirit is pronounced as one syllable. See below, v. I. 86. 202, 203. hood mine eyes Thus with my hat. Hats were com- monly worn by all persons of station at dinner. To take off the hat, except for courtesy in company, was an acknowledgment of inferiority. 205. ostent, appearance. Compare below, ii. 8. 44 : "Fair ostents of love." ACT II. SCENE III 2. Our house is hell. Jessica is distraught between her love for Lorenzo and her religion and duty to her father, hence the extrava- gance of her words. 5. soon at supper. Compare Richard III, iv. 3. 31. 10. tears exhibit my tongue, tears show what my tongue would express but for them. 1 6. what heinous sin, i.e. sinfulness. Scene V] Notes 1 57 19. Lorenzo. The story of Jessica's elopement is apparently of Shakespeare's own invention. Its purpose is plainly to offer strong additional reasons, the stealing of his daughter and his ducats by another Christian, for Shylock's implacability as to Antonio and his bond. ACT II. SCENE IV Gratiano is arranging with his friends to entertain Bassanio with a mask to celebrate his departure for Belmont. See a simi- lar entertainment in Henry VIII, i. 4. Masquerading was com- mon in the England as in the Venice of Shakespeare's day. i. in, during, at. Compare below, v. I. I : "In such a night as this." 5. spoke us ygt of torch-bearers, bespoken, or made arrange- ments for torch-bearers. 10. break up, break open, of a sealed letter. Compare The Winter's Tale, iii. 2. 132: "Break up the seals and read." 24. provided of a torch-bearer, with a torch-bearer. Of is used in Elizabethan English not only of the agent, but of the instru- ment. Compare below, v. i. 296: "You are not satisfied Of these events." ACT II. SCENE V This scene gives us briefly the relation of Shylock and Jessica; his faith in her, shown in his entrusting to her his keys; but his mistrust of her levity in his injunction concerning the maskers, and his premonition of coming evil. The scene also completes, by means of Launcelot's hint concerning the mask, Jessica's plan to run away with Lorenzo. 3. What, Jessica ! What, like why and when, was used as an exclamation of impatience. Compare below, v. I. 151: "What talk you of the posy." 3. gormandize, the thrifty Shylock and the indolent, careless 158 Notes [Actn Launcelot would have very different ideas on this subject. See above, ii. 2. 113, Launcelot's complaint that he was famished. 14. to feed upon 7^he prodigal Christian. This change in Shy- lock's earlier determination not to eat with a Christian is due to his purpose of revenge. 1 8. money-bags. Dreams go by contraries. 1 8. to-night ', here last night, although sometimes used in the modern sense, as below, line 37 of this scene. 21. So do I his [reproach], Shylock takes Launcelot's word reproach, intended for approach, in its actual sense. 25. a-bleeding. Bleeding at the nose was formerly regarded as an indication of coming misfortune. 25. Black- Monday. Easter Monday, so called because of a violent winter storm, April 14, 1360, in which many of the soldiers of King Edward III, then besieging Paris, perishai of cold. 30. wry-neck? d fife, variously explained as a fife with a wry or crooked neck, or as applying to the fife player, " a wry-necked musician, for he always looks away from his instrument." 33. varnish? d faces. In allusion to the varnished and painted masks worn by masqueraders. 36. Jacob's staff. Though popularly used of a pilgrim's staff in general, the word here has reference to Genesis, xxxii. 10 and Hebrews, xi. 21. 37. no mind of feasting forth, no inclination to feast from home. See below, iv. I. 402 : " I humbly do desire your grace of pardon." Observe the use of forth as an adverb; and compare The Merry Wives of Windsor, ii. 2. 276: " Her husband will be forth" 44. Hagar's offspring, i.e. son of a bondswoman. Genesis, xvi. 46. patch, used as a nickname for a jester, is probably derived from the motley or patched coat of the professional fool. Notice the touch of kindliness in Shylock's allusion to Launcelot, and that at the very moment when Jessica is deceiving him with a deliberate lie. 48. the wild-cat, which prowls by night and sleeps all day. Scene VI] Notes 159 52. Perhaps I will, in modern English shall, ohylock did not feel perfect confidence in Jessica. 56. Note the rhyming couplet which marks the conclusion of a scene, although here the stage setting remains the same, and the action proceeds at once to Jessica's elopement. ACT II. SCENE VI 1. pent-house, a shed hanging out aslope of the main building. 2. This line, like many others, especially in the earlier work of Shakespeare, is too long, according to the metrical scheme of English blank verse. As a matter of fact, Shakespeare frequently employs, in the midst of the usual lines of five accents, lines which contain six, and which are known as Alexandrines. This is more often to be met where the dialogue is broken (that is, where the line is divided between two speakers) than elsewhere. In such cases we had better follow the advice of Dr. Furness, and " forego the pleasure of adjusting the rhythm of fragments of lines. As long as each fragment is in itself rhythmical, I doubt," continues the editor of the Variorum Shakespeare, "if Shakespeare troubled himself to piece them together." 5. Venus' pigeons, doves were sacred to Venus, the goddess of beauty. See Tempest, iv. I. 92: " I met her deity Cutting the clouds towards Paphos, and her son Dove-drawn with her." 7. obliged, pronounced as three syllables. The termination ed was commonly pronounced in Shakespeare's day, although some- times contracted. See below, in this scene, chased, line 13; scarfed, line 15; and placed, line 57. 9. sits down [with]. 10. untread again, retrace, repeat in reverse order ; said to allude to a horse trained to perform tricks, as in a circus. 160 Notes [Act n 17. See Luke, xv. 11-32. 24. /'// watch, as long, etc. This line contains but nine syl- lables. But the pause after tken takes up one of them, and the line becomes perfectly metrical. ^ ^ I'll watch as long for you then. Approach. This is no uncommon device where there is a change in the thought, as here. Shakespeare, be it repeated, wrote for the ear and not for the eye, nor yet for the fingers. Compare -Measure for Measure, ii. 2. 115-117: " Thou rather with thy sharp and sulphurous bolt Split'st the unwedgeable and gnarled oak Than the soft myrtle : but man, proud man, etc." 30. who love /. Who for whom, as frequently in Shakespeare. This license extended to all the personal pronouns. Compare below, iii. 2. 321 : " All debts are cleared between you and I." 35. exchange, change of costume to that of a boy. 41-50. What, must I, etc. Shames, in modern English shame. They in themselves [/.f a lapse of time between Portia's departure and the day of trial. 3. I fear you, I fear for you. 19. A line from the Alexandreis of Philip Qualtier written in the thirteenth century which became proverbial : Incidis in Scyl- lam cupiens vitare Charibdim. 21. / shall be saved by my husband. Perhaps an allusion to i Corinthians, vii. 14 : " The unbelieving wife is sanctified by the husband." 28. a rasher on the coals, a favourite dish of the time. 34. are out, have fallen out. 57. ' cover? Launcelot plays on the word which means to lay covers on the table, that is set the table, and also to put the hat on the head. I know my duty, and do not wear my hat in the presence of my superiors. 60. quarrelling with occasion, quibbling with words at every opportunity. 70. O dear discretion [sober sense and fair meaning], how [absurdly] his words are suited [matched to the thought]. 73. A many fools. The a thus inserted before a numeral indi- cates that the objects enumerated are regarded collectively as one. Compare the expressions: "This nineteen years," "This many years"; and Tennyson in The Miller's Daughter: "They have not shed a many tear." 74, 75. for a tricksy word Defy the matter, for the sake of play- ing on the word set the meaning at defiance. 82, And if on earth he do not mean it. Mean is the reading of Scene I] Notes 175 all the old editions, and various emendations, such as merit it and earn it have been offered. If the reading of the text is to be retained, perhaps the best explanation is that which gives to mean it the force of, " to observe the mean, enjoy blessings moderately." 95. set you forth, describe you to advantage. ACT IV. SCENE I " The trial Scene, with its tugging vicissitudes of passion and its hush of terrible expectation, now ringing with the Jew's sharp, spiteful snaps of malice, now made musical with Portia's strains of eloquence, now holy with Antonio's tender breathings of friend- ship, and dashed, from time to time, with Gratiano's fierce jets of wrath and fiercer jets of mirth, is hardly surpassed in tragic power anywhere; and as it forms the catastrophe proper, so it con- centrates the interest of the whole play" (Hudson). I. Wha^ an exclamation of attention. See below, lines 46 and 1 1 1 of this scene. 5, 6. empty From. Shakespeare also uses the modern empty of. We say free from. 8. obdurate* accent on the second syllable. 9. And that, and because. 1 6. Shylock shows great deference to the Duke, but to no one else except to Portia, disguised as a young lawyer, during that part of her discourse which agrees with his claims. 29. a royal merchant. See above, note on iii. 2. 242. 34. a gentle [Gentile] answer. See above, note on ii. 6. 51. 37. the due and forfeit, the forfeiture which is due. 38. let the danger light, etc. Such a threat could have had little weight with the Doge of Venice, the charter of which was not revokable as the gift of any prince. 43. But [I'll] say, it is my humour [my fancy or determination to act thus], Shylock is not using the word humour in the later 176 Notes [Act iv restricted sense which Jonson applied to it of a ruling passion or propensity. By some this passage is punctuated: But, say it is my humour, i.e. suppose it is my humour. 47. a gaping pig, a pig's head served as a dish at table. 50. "for affection [either for love or dislike sympathy or antip- athy, being the] master of passion, sways it [passion] to the mood of what it [affection] likes or loathes" This, the reading of Knight, has the advantage of changing only one letter of the origi- nal and doubtless corrupt text, master for masters. Affection, emotion produced through the senses by external objects, is here as above, iii. i. 62, distinguished from passion, emotion stirred from inward feeling. 56. woollen bag-pipe. Woollen is the reading of all the old edi- tions and doubtless refers to the material with which the bag con- taining the reservoir of wind which blows the pipe is covered. 62. A losing suit, one in which I lose my money. 68. Every offence [resentment for an injury], is not a hate. In bis reply Shylock takes offence to mean affront, insult. 69. a serpent sting thee twice. Dr. Furness calls attention to the hiss in these words. 70. think [remember], you question [are arguing] with the Jew, [a man on whose hard, cruel nature you are wasting your words]. Compare As You Like It, iii. 4. 38 : "I met the Duke yesterday and had much question with him." 76. and [command them] to make no noise. 82. with all brief and plain conveniency, with such directness and brevity as is fitting the case. 92. slavish parts. Notice the actor's figure of the world con% ceived as a play in which the various parts or roles are distributed. Compare As You Like It, ii. 7. 142 : " And one man in his time plays many parts." 105. Bellario, a learned doctor. The reputation of Bellario, Por- tia's cousin (see above, iii. 4. 50), must be conceived of as such that (like one Discalzio, a famous jurist contemporary with Shake- Scene I] Notes 177 speare and also of Padua), Portia could feel sure that the Doge would consult him in a case of such moment. She was thus able to arrange her plot during the time intervening between Bassanio's departure from Belmont and the day of the trial, and to come into court as young Balthasar accredited as a judge not as an advo- cate by the letter of Bellario. 126. Scan, Of thy sharp envy. Can no prayers pierce thee? 129. And for thy life let justice be accused. Let justice be im- peached that she allows a being so cruel to live. 131. Pythagoras, of Samos, who held the doctrine of the trans- migration of souls. Compare Twelfth Night, iv. 2. 54 : " Clown. What is the opinion of Pythagoras concerning wild-fowl ? Malvolio. That the soul of our grandam might haply inhabit a bird." 134. a wolf, who hang } d for human slaughter. A connection has been surmised between Shylock and the Jewish Doctor Lopez, an alleged conspirator against the queen, hanged at Tyburn in the very year of the earliest performance of this play. The affair made a great noise, and the hatred of the people was roused against the Jews, of which there were not a few in England, although their presence was not officially allowed. 134. who hang* d for human slaughter. This clause is an absolute one, and not dependent on the rest of the sentence. It is variously called by the grammarians a nominative absolute or by the Latin term nominativus pendens, the hanging nominative. 162. no impediment to let him lack, no hindrance to his receiving. 165. whose, for he. Compare King Lear, v. 3. 46: 11 To send the old and miserable king To some retention and appointed guard ; Whose [for his] age has charms in it." 170. your place, Portia's place as a judge would be on the dais, or lower platform below the Doge's seat, or possibly beside him. MERCH. OF VENICE 12 178 Notes [Act iv 171. the difference That holds this present question, the dispute that is the cause of this discussion. 182. Then must the Jew be merciful. Portia means to convey no idea of compulsion in her word must, but Shylock misunderstands her. 184. The quality of mercy. Notice how naturally this splendid passage rises from the necessities of the dialogue. Compare Eccle- siasticus, xxxv. 20 : " Mercy is seasonable in the time of affliction as clouds of rain in the time of drought." 204. if thou follow, if you insist on your plea in all its strictness. 208. discharge the money, i.e. the debt. 210. twice the sum. See below, line 234, thrice. The disparity is trivial. 215. Wrest once the law, etc., for once bend the law to your authority. 217. curb . . . of his will. Compare i Henry IV, iii. I. 171: " And curbs himself even of his natural scope." 223. A Daniel come to judgement. Compare The History of Susanna, 45 : " The Lord raised up the holy spirit of a young child (youth in the Authorized Version}, whose name was Daniel." Daniel also detected the imposture of the priests of Bel in the Apoc- ryphal History of Bel and the Dragon. 241. power, pronounced as two syllables. 248. Hath full relation, is fully applicable. For it is the meaning of the law that the penalty attached to each bond shall be paid as therein provided; and this applies to the present case. 251. more elder. Shakespeare frequently employs the double comparative. Compare The Tempest, i. 2. 439 : " his more braver daughter." 254. ' Nearest his heart! When Shylock suggested the forfeit he stipulated for " an equal pound Of your fair flesh, to be cut off and taken In what part of your body pleaseth me." Scene I] Notes 179 The specification ' nearest his heart * must be supposed an agree- ment at the signing of the bond. 255. Scan, // is so. Are there balance here to weigh ? 255. balance. This word was used both as a singular and a plural in Shakespeare's time. Confusion as to the number of words ending in a sibilant, s or c, is very frequent. 275. speak me fair in death, speak kindly of me when I am dead. Compare Henry VIII, iv. 2. 32: "Yet thus far, Griffith, give me leave to speak him." 277. love, lover, true friend. 278. Repent but you, only so much as regret that you have lost your friend, and your friend regrets not that he pays your debt. 281. with all my heart. A jest such as this heightens the pathos of the situation and is very true to life. Compare John of Gaunt's jest on his name when he is on his death-bed, Richard II, ii. I. 73-83. 283. Which for who was common, and used at times for emphasis. Compare the Lord's Prayer. 296. Barrabas, so spelled and pronounced by Shakespeare and Marlowe. Shylock affects to be shocked at the impiety of these "Christian husbands." 305. Tarry a little. Much has been written on the law involved in this famous case. Portia's first plea, that the law allowed the pound of flesh but no drop of blood, is a pure quibble, and would have been accepted in no court of Europe. Her second plea, that the portion cut must be precisely a pound, and neither more or less, is no better, as the law cannot demand, in the performance of a contract, an utter impossibility. The third plea of Portia, that in which she invokes the law of Venice against any alien who plots against the life of a citizen, is sound and sufficient; and on this the case is properly decided. It has been surmised that this last plea is the defence of Bellario, the learned Doctor of Padua; and that the more brilliant and specious, if legally unsound, pleas are the product of Portia's woman's wit. It is more likely that we have in i8o Notes [Act iv the whole story of the bond what has always been the current popular conception of law that it deals with the letter of men's agreements and is little tempered by the spirit of equity. This notion was almost as false in the time of Shakespeare as to-day. 327. a just pound, an exact pound. Compare an equal pound, above, i. 3. 150. 328. in the substance, in the weight. 334. Compare i. 3. 47. 335. pause. At this point the play hangs between tragedy and comedy. Shylock had sworn to have his bond. Might he not have kept his oath and, taking his bloody forfeit, have pulled down Antonio and himself in one common ruin? Such sympathy as we feel for Shylock is, to a large degree, the result of the more tolerant spirit of modern time. With his choice here made, and that choice involves an abject confession that " sufferance is the badge of all our tribe," even our respect vanishes, and we see in Shy- lock nothing but the malevolent and remorseless usurer, cowed in the moment of his long-sought revenge and slinking away foiled and baffled. It is plain that The Merchant of Venice could not have contained the happy story of Portia and the caskets and at the same time have ended as a tragedy. 352. party, here used in its legal sense, a party to a suit. 357. predicament. This word was originally a term in logic, meaning much the same as category. It had already reached its popular acceptance in Shakespeare's time. 362. formerly, a legal term, equivalent to the more modern aforesaid. 363. Down [on your knees], therefore. 372. Which humbleness [submission] may drive [commute] unto a fine. 373. Ay, for the state, not for Antonio. The half which comes to the state may be commuted to a fine, but not the half which comes to Antonio. 380-385. So [If it] please my lord. ... To quit [release] the Scene II] Notes 1 8 1 fine for one half of his goods [the half which the state was to have received], I am content ; so [provided that] he [Shylock] will let me have The other half [which was awarded to me] in use [in trust for the benefit of Jessica], to render [return] it, Upon his [Shylock's] death, unto the gentleman That lately stole his daughter. 399. ten more [godfathers] to make up twelve, the number of a jury. 402. desire your grace of pardon. Compare A Midsummer Nighfs Dream, iii. I. 185 : "I shall desire you of more acquaintance." 405. serves you not, is not at your command. 412. withalv* here a preposition governing ducats and equivalent to with. This preposition always follows its object. Compare Measure for Measure, iv. 3. 145 : " Her cause and yours I'll per- fect him withal." Elsewhere the word performs more the function of an adverb. See above, iii. 4. 72 : "I could not do withal ; " and below, iv. I. 450. 418. more mercenary, mercenary beyond a desire for the grati- fication that comes from the doing of a good deed. 447. hold out enemy. Compare Much Ado About Nothing, i. I. 91 : "I will hold friends with you." 451. commandement. Here the old spelling, which is preserved in the text, conveys the old pronunciation in four syllables and saves the metre. Compare / Henry VI, i. 3. 20 : " From him I have express commandement." Elsewhere in Shakespeare this word is pronounced as now. See The Winter's Tale, ii. 2. 8. ACT IV. SCENE II Notice the care with which Portia, as Balthasar, carries out her professional duty in sending the deed to Shylock for his signature ; and how her request that Gratiano show the way to the Jew's house affords to Nerissa an opportunity to get back her ring from her husband also. 15. old swearing, great, plenty of swearing. 182 Notes [Act v ACT V. SCENE I In this, the single scene of the last act, we have the happy con- clusion of the story of the caskets fretted and prolonged by the charming episode of the rings. Notice how, after the contending passions of the trial scene, the peace and beauty of Belmont is heightened by the lovers' talk of Lorenzo and Jessica; how happily Portia's mischievous raillery of Bassanio for parting with her ring stops short of excess ; and how the gentleman and the soldier are disclosed in Bassanio who, in his sore trouble, does not breathe in excuse that it was Antonio that did " enforce " him to send the ring after Balthasar. (See above, iv. I. 449.) 4. Troilus, son of Priam. The story of Troilus and Cressida was well known to the contemporaries of Shakespeare not only from Chaucer's treatment of it but from a play on the subject staged be- fore Shakespeare's drama of that title. 7. Thisbe. The story of the unfortunate lovers, Pyramus and Thisbe, told by .Ovid in his Metamorphoses, iv. 55-166, was trans- lated by Golding in 1564. Shakespeare employs it in burlesque in the last act of A Midsummer Nighfs Dream. In editions of Chaucer's works Troylus and Cryseyde immediately precedes The Legende of Goode Women in which Thisbe, Dido, and Medea are mentioned in the order preserved by Shakespeare in this passage. 10. The willow is an English, not a classical, emblem of forsaken love. Compare j Henry VI, iii. 3. 228: "I'll wear the willow garland for his sake." 11. waft, for waffd, from wafted. This contraction is not un- usual. Compare King John, ii. I. 72: "A braver choice of dauntless spirits Than now the English bottoms have waft o'er." 13. Medea,\\\z enchantress of Colchos. An allusion in harmony with the weird mysteriousness of night, as well as with Jessica's story, who, like Medea, " carried off her father's treasure and ran away with her lover." Scene I] Notes 1 83 14. That did renew old &son. According to Ovid, Metamor- phoses, vii. 162, yEson was restored to youth by his daughter, Medea. 15. steal, a teasing word of the lover, deliberately turned aside by Jessica in her reply, stealing her soul, etc. 25. in [the] silence. Compare for this omission of the article, Othello >, ii. I. 24 : "On [the] most part of their fleet." 28. Stephano, pronounced here and below, line 51, Stephano. 31. By holy crosses, in allusion to the many wayside shrines of Roman Catholic countries at which the devout are accustomed to kneel in prayer. 35. nor we have not. Note the double negative and compare iii. 4. ii. 37. ceremoniously let us prepare Some welcome, let us prepare some ceremonious welcome. 39. Sola, sola. Launcelot is imitating the horn of a post or courier. He comes in, circles about Lorenzo and Jessica without once looking at them, delivers his message, and is off. 57. touches, the act of the hand of the musician on the strings. 59. patines of bright gold. The patine is a plate used in the Eucharist and has been variously interpreted here to signify the stars themselves, or better, considering that the stars shine faintly on a moonlit night, " the broken clouds, like flaky disks of curdled gold, which slowly drift across the heavens and veil at times the brightness of the moon " (Furness) . 61. like an angel sings. Shakespeare elsewhere refers to the Platonic idea that the eight spheres revolve, guided each by its siren (or angel), who sings in the tone of her own sphere, produc- ing harmony in the united tones. (De Republica, X.) See Antony and Cleopatra, v. 2. 83 : " His voice was propertied As all the tuned spheres ; " and Pericles, v. I. 231. See also Job, xxxviii. 7 : " The morning stars sang together." 62. cherubins. Cherubin was often conceived of as a singular, hence the double plural here. 1 84 Notes [Act v 65. Doth grossly close it in, we cannot hear it. Close . . . in is a compound verb, enclose ; it refers to sou/, not to harmony. The reading it in for in it is defensible on the score of euphony, if for no better reason. 66. Diana, the goddess of the moon. 72. unhandled colts. Compare The Tempest, iv. I. 175: " Then I beat my tabor, At which, like unback'd colts, they prick'd their ears, Advanced their eyelids, lifted up their noses, As they smelt music." 77. perceive them [to] make, etc. 79. the poet, Ovid. 80. Orpheus. See Metamorphoses, x and xi ; and compare the song, Henry VIII, iii. 1.3: " Orpheus with his lute made trees, And the mountain tops that freeze, Bow themselves when he did sing." 84. Nor is not. Compare above, iii. 4. 1 1 . 86. spirit, one syllable, sprite, as frequently elsewhere. Com- pare ii. 2. 196. 87. Erebus, the gloomy space under the earth through which the shades pass on their way to Hades. 89. The talk of Lorenzo and Jessica, the music playing all the while, prevents them from hearing the approach of Portia and Nerissa, who enter on the other side opposite to the garden-seat on which the lovers are seated. 108. To their right praise, so that they obtain the honour which they deserve. 109. Endymion, the shepherd, sleeping on Mount Latmos, was seen and beloved by Selene or Diana, the moon, who came down to kiss him and rest at his side. 112. as the blind man, etc., referring to a case in which a blind man is at no advantage over his neighbours possessed of sight. Scene I] Notes 185 115. Which, who \_i.e. our husbands] speed, we hope, etc. 121. tucket, from the Italian toccata, a peculiar set of notes played on the trumpet to denote the arrival of a given person. Lorenzo recognizes the notes as indicating the approach of Bassanio. 127. hold day. We should have daylight when those who dwell on the opposite side of the globe (the Antipodes) have it, if Portia, our sun, were to walk by night. 129. For similar .plays on the word light, see above, ii. 6. 42, and iii. 2. 91. 132. God sort all, God dispose all. Compare Richard III, ii. 3. 36: " If God sort it so." 136. in all sense, in all reason. 141. this breathing courtesy, one consisting merely in breath, that is, words. 142. Gratiano and Nerissa have been conversing apart in dumb show. 148. Scan, That she did give me, whose posy was. 148. posy, a motto inscribed on a ring, a knife, or other article. 150. leave me not, do not part with me. 151. What talk you, etc. Compare Coriolanus, iii. 3. 83 : " What do you prate of service ?" where similar impatience is denoted. And see above, ii. 5, 3 : " What, Jessica ! " 177. / were best to, I had better. Compare note on ii. 8. 33, above. 193. If you did know, etc. Verses such as these, in which the same word or phrase is repeated again and again, were very com- mon in the older drama and were used as serious ornaments of style, and not, as here so much more fitly, to mark the amusing discomfiture of Bassanio and Portia's mocking retort. 199. virtue, power, for the possessor was master of Portia and ail that was hers. See above, iii. 2. 171. 204. had pleased to have defended, for had pleased to defend The double perfect was not uncommon. 205. wanted, as to have wanted. 1 86 Notes [Act v 206. ceremony, a thing or observance held sacred. 214. Even he, referring back to a civil doctor Which did refuse, and regarding the intervening clauses as parenthetical. 217. shame [at being thought ungrateful] and [a. sense of what] courtesy [demanded of me]. 220. candles of the night. Compare Romeo and Juliet, iii. 5. 9 : " Night's candles are burnt out." 250, 251. Which . . . had quite miscarried. Which refers to Antonio's loan of his body for the wealth, i.e. prosperity, of Bas- sanio. Miscarried is metaphorical as applying to the loan as a venture. 296. not satisfied. You have not yet heard all the details of these events. 298. charge us there upon inter 1 gator ies. According to Lord Campbell, Shakespeare's Legal Acquirements, p. 62 : " In the Court of Queen's Bench, when a complaint is made against a per- son for a * contempt,' the practice is that before sentence is finally pronounced he is sent into the Crown Office, and being there * charged upon interrogatories,' he is made to swear that he ' will answer all things faithfully.'" A HISTORY OF ENGLISH LITERATURE By REUBEN POST HALLECK, M.A. (Yale), Louisville Male High School. Price, 1.25 HALLECK'S HISTORY OF ENGLISH LIT- ERATURE traces the development of that litera- ture from the earliest times to the present in a concise, interesting, and stimulating manner. Although the subject is presented so clearly that it can be readily com- prehended by high school pupils, the treatment is sufficiently philosophic and suggestive for any student beginning the study. ^| The book is a history of literature, and not a mere col- lection of biographical sketches. Only enough of the facts of an author's life are given to make students interested in him as a personality, and to show how his environment affected his work. Each author's productions, their rela- tions to the age, and the reasons why they hold a position in literature, receive adequate treatment. ^[ One of the most striking features of the work consists in the way in which literary movements are clearly outlined at the beginning of each chapter. Special attention is given to the essential qualities which differentiate one period from another, and to the animating spirit of each age. The author shows that each period has contributed something definite to the literature of England. ^[ At the end of each chapter a carefully prepared list of books is given to direct the student in studying the original works of the authors treated. He is told not only what to read, but also where to find it at the least cost. The book contains a special literary map of England in colors. AMERICAN BOOK COMPANY CS.90) A HISTORY OF AMERICAN LITERATURE By REUBEN POST HALLECK, M.A., Principal, Male High School, Louisville, Ky. $1.25 A COMPANION volume to the author's History of English Literature. It describes the greatest achieve- ments in American literature from colonial times to the present, placing emphasis not only upon men, but also upon literary movements, the causes of which are thor- oughly investigated. Further, the relation of each period of American literature to the corresponding epoch of English literature has been carefully brought out and each period is illuminated by a brief survey of its history . ^[ The seven chapters of the book treat in succession of Colonial Literature, The Emergence of a Nation (1754-1809), the New York Group, The New England Group, Southern Literature, Western Literature, and the Eastern Realists. To these are added a supplementary list of less important authors and their chief works, as well as A Glance Backward, which emphasizes in brief compass the most important truths taught by American literature. ^| At the end of each chapter is a summary which helps to fix the period in mind by briefly reviewing the most sig- nificant achievements. This is followed by extensive his- torical and literary references for further study, by a very helpful list of suggested readings, and by questions and suggestions, designed to stimulate the student's interest and enthusiasm, and to lead him to study and investigate fur- ther for himself the remarkable literary record of American aspiration and accomplishment. AMERICAN BOOK COMPANY 8> COMPOSITION-RHETORIC By STRATTON D. BROOKS, Superintendent of Schools, Boston, Mass., and MARIETTA HUB- BARD, formerly English Department, High School, La Salle, 111. Price, $1.00 THE fundamental aim of this volume is to enable pupils to express their thoughts freely, clearly, and forcibly. At the same time it is designed to cultivate literary appreciation, and to develop some knowledge of rhetorical theory. The work follows closely the requirements of the College Entrance Examination Board, and of the New York State Education Department. ^[ In Part One are given the elements of description, narra- tion, exposition, and argument; also special chapters on let- ter-writing and poetry. A more complete and comprehensive treatment of the four forms of discourse already discussed is furnished in Part Two. In each partis presented a series of themes covering these subjects, the purpose being to give the pupil inspiration, and that confidence in himself which comes from the frequent repetition of an act. A single new princi- ple is introduced into each theme, and this is developed in the text, and illustrated by carefully selected examples. ^j The pupils are taught how to correct their own errors, and also how to get the main thought in preparing their lessons. Careful coordination with the study of literature and with other school studies is made throughout the book. ^[ The modern character of the illustrative extracts can not fail to interest every boy and girl. Concise summaries are given folio wingthe treatment of the various forms of discourse, and toward the end of the book there is a very comprehensive and compact summary of grammatical principles. More than usual attention is devoted to the treatment of argument. AMERICAN BOOK COMPANY TEACHERS' OUTLINES FOR STUDIES IN ENGLISH Based on the Requirements for Admission to College By GILBERT SYKES BLAKELY, A.M., Instructor in English in the Morris High School, New York City. Jo. 50 THIS little book is intended to present to teachers plans for the study of the English texts required for admission to college. These Outlines are full of inspiration and suggestion, and will be welcomed by every live teacher who hitherto, in order to avoid ruts, has been obliged to compare notes with other teachers, visit classes, 'and note methods. The volume aims not at a discussion of the principles of teaching^ but at an application of certain principles to the teaching of some of the books most generally read in schools. ^[ The references by page and line to the book under discussion are to the texts of the Gateway Series; but the Outlines can be used with any series of English classics. ^[ Certain brief plans of study are developed for the general teaching of the novel, narrative poetry, lyric poetry, the drama, and the essay. The suggestions are those of a practical teacher, and follow a definite scheme in each work to be studied. There are discussions of methods, topics for compositions, and questions for review. The lists of questions are by no means exhaustive, but those that are given are suggestive and typical. ^[ The appendix contains twenty examinations in English, for admission to college, recently set by different colleges in both the East and the West. AMERICAN BOOK COM PA NY (S.8 7 ) THE SHORT-STORY Specimens Illustrating Its Development By BRANDER MATTHEWS, LL. D., D. C. L., Litt. D., Professor of Dramatic Literature, Columbia University. $I.OO THE short-story is distinguished from the novel by its brevity, and from the more brief tale by its unity, its totality, its concentration upon a single effect or a single sequence of effects. ^j In this book a group of twenty-four specimen stories have been selected to show the development of the form the slow evolution of this literary species through the long centuries of advancing civilization. The earlier tales here presented are not true short-stories ; each of them lacks one or another of the essential characteristics of the type. The more modern examples are true short-stories; and they have been chosen to exhibit the many varieties possi- ble within the species. They have been selected from the chief modern literatures, English, French, German, Russian, and Norwegian ; and they present many con- trasting shades of local color. ^j The introduction traces the growth of the form through the history of literature and seeks to set forth the attain- ment of the type. The notes prefixed to the several specimens outline briefly the biographies of the authors, and discuss succinctly their literary position. The notes appended to each of the specimens are intended to call the attention of the student to the merits and the defects of that particular story considered as an example of the form. AMERICAN BOOK COMPANY THE MASTERY OF BOOKS By HARRY LYMAN KOOPMAN, A.M., Librarian of Brown University. Price, 90 cents IN this book Mr. Koopman, whose experience and reputation as a librarian give him unusual qualifications as an adviser, presents to the student at the outset the advantages of reading, and the great field of literature open to the reader's choice. He takes counsel with the student as to his purpose, capacities, and opportunities in reading, and aims to assist him in following such methods and in turning to such classes of books as will further the attainment of his object. ^[ Pains are taken to provide the young student from the beginning with a knowledge, often lacking in older readers, of the simplest literary tools reference books and cata- logues. An entire chapter is given to the discussion of the nature and value of that form of printed matter which forms the chief reading of the modern world periodical literature. Methods of note- taking and of mnemonics are fully described ; and a highly suggestive and valuable chapter is devoted to language study. ^| One of the most valuable chapters in the volume to most readers is that concerning courses of reading. In accordance with the author's new plan for the guidance of readers, a classified list of about fifteen hundred books is given, comprising the most valuable works in reference "books, periodicals, philosophy, religion, mythology and folk-lore, biography, history, travels, sociology, natural sciences, art, poetry, fiction, Greek, Latin, and modern literatures. The latest and best editions are specified, and the relative value of the several works mentioned is indi- cated in notes. AMERICAN BOOK COMPANY (S. 106) UNIVERSITY OF CALIFORNIA BERKELEY Return to desk from which borrov This book is DUE on the last date stamp 5 Sep'BOCS l2May'59FC REC'D LD (\PR 2 8 1959 D LD WAR HOct'60MN REC'D LD OCT 2 I960 ?> c 1519716 9 /1-12AM11J LD 21-100m-ll,'49(B7146sl6)476 Yb /YD4I r