The Merchant of Venice (16 page)

3.5.67–8 merit it, In
= Ed. F = meane it, it Is. Q = meane it, it In
75 a wife
= F. Q = wife

4.1.52 Mistress
= Ed. F = Masters
66 answer
= F. Q = answers
75 Why … made
= Q.
Not in
F
78 fretted
= F. Q = fretten
80 what
= F. Q = what’s
112 messenger
= Q. F = Messengers
144 endless
= F. Q = cureless
169 Came
= F. Q = Come
208 court
= Q. F = course
228 do I
= F. Q = I do
234 No, not
= F. Q = Not not
266 should
= F. Q = doe
267 Is it so
= Q. F = It is not
271 Come
= F. Q = You
286 not
= F. Q = but
316 Then take
= F. Q = Take then
337 it so
= F. Q = it but so
344 thee
= F. Q = you
354 taken so
= F. Q = so taken
411 thou shalt
= F. Q = shalt thou
414 home with me
= Q. F = with me home

5.1.3 noise
= Q. F = nnyse
32 SH STEPHANO
= Ed. F =
Mes
.
41 is
= Q. F = it
returned
= Q. F = rnturn’d
44 us
= Q. F = vs vs
56 Sweet soul
= Ed. F
prints as last words of Lancelet’s speech
58 Stephano
= Q2. F =
Stephen
pray
= F. Q = I pray
72 it in
= Q. F = in it
89 time
= F. Q = the time
164 the hour
= F. Q = your hour
168 But … know
= F. Q = no God’s my Iudge
233 And by
= F. Q = For by
264 thy
= F. Q = his
273 Pardon
= F. Q = Pardon me
287 but e’en now
= F. Q = even but now

Lines 1–115:
Antonio confesses he is sad but cannot explain the reason. Salerio suggests he is worried about his ships, currently at sea, but Antonio says that he is not concerned about his merchandise. Salerio therefore suggests that it is because Antonio is “in love,” establishing a link between two main themes: commerce and love. They are interrupted by Bassanio, Lorenzo, and Gratiano. Solanio and Salerio take their leave, joking that some “worthier company” has arrived, introducing the motif of “worth” (both of goods and people). Gratiano observes that Antonio looks unwell and Antonio’s meta-theatrical response is that the world is a “stage where every man must play a part” and that his is “a sad one.” Gratiano urges him not to put on sadness merely to seem wise, establishing the themes of disguise/appearance versus reality.

Lines 116–188:
Bassanio observes that Gratiano “speaks an infinite deal of nothing” and that “His reasons are two grains of wheat hid in two bushels of chaff,” images that reinforce the play’s concerns with quantity and value. Antonio questions Bassanio about the lady he is in love with. Bassanio’s response is elliptical, focusing instead on his lack of fortune and need to borrow money from Antonio, despite already being in debt to him “in money and in love,” further reinforcing the link between these two themes. Bassanio describes Portia of Belmont, “a lady richly left,” who has inherited a large fortune on her father’s death, and who is “fair and, fairer than that word, / Of wondrous virtues.” This raises the motif of “fairness,” in terms of both beauty and justice. Bassanio needs money to court Portia. Antonio explains that his “fortunes are at sea” but will stand security if Bassanio borrows money.

In Belmont, Portia is complaining of being “aweary of this great world,” echoing Antonio in the previous scene. Under the terms of her dead father’s will, she cannot choose her own husband, nor refuse one she dislikes if he passes the test set by her father. Each of Portia’s suitors must choose between three caskets: one gold, one silver, and one lead. Only the man who chooses correctly shall marry Portia. She and Nerissa list her recent admirers: a “Neapolitan prince,” a “French lord,” a “young baron of England,” and “the Duke of Saxony’s nephew,” emphasizing the competition that Bassanio faces, but also the play’s concerns with cultural identities and differences. Portia dismisses each one, showing her quick wit and ability to reason. Nerissa reminds her of “a Venetian, a scholar and a soldier” (Bassanio) who visited their household while Portia’s father was alive. The ladies agree he is “worthy” of praise. A servant announces that the four suitors have left, but that a fifth, “the Prince of Morocco,” will arrive that night. Portia is unimpressed, commenting that her new suitor will have “the complexion of a devil,” highlighting the racial/cultural boundaries that exist in the play.

Bassanio and Shylock discuss a loan of “Three thousand ducats” for “three months.” Bassanio assures Shylock that “Antonio shall become bound” in guarantee, but Shylock is unsure: Antonio’s wealth is uncertain while his ships are still at sea. Antonio approaches and Shylock reveals his hatred in an aside: he hates Antonio “for he is a Christian,” but more importantly because Antonio makes loans without charging interest, damaging Shylock’s moneylending business. Finally, he points out that Antonio hates him because he is Jewish, and because he is a moneylender. This speech makes clear the opposing characters of Shylock and Antonio, contrasted throughout the play in terms of their faiths and characteristics.

When Antonio arrives, Shylock makes a show of civility. Antonio tells him that usually he does not “lend nor borrow,” but that he is
making an exception for Bassanio. Shylock remembers all the times that Antonio has “rated” him over his moneylending, and insulted him on the grounds of his faith, calling him a “misbeliever.” He asks why he should lend money to someone who has “spat on” him and called him a “dog.” Antonio replies that he is likely to do these things again and tells Shylock that he will be making a loan to his “enemy,” who it will be easier to “Exact the penalties” from if he fails to pay. Shylock claims that he wants to “be friends,” making the loan with no interest charges. He suggests, “in a merry sport,” that if Antonio fails to pay back the money on the day stipulated, he will take a “pound” of Antonio’s “fair flesh.” Antonio agrees, despite Bassanio’s protests. He points out that within two months he is expecting a return of “three times the value of this bond.” Shylock tells them to meet him “at the notary’s,” where they will put the bond in writing, and leaves. Antonio observes that Shylock “grows kind,” but Bassanio is less trusting, saying that Shylock has “a villain’s mind.” Antonio reiterates that his ships will come home “a month before the day,” one of many references to time that create pace and tension.

The Prince of Morocco begs Portia not to “Mislike” him on account of his complexion. She politely reminds him that, under the terms of her father’s will, her marriage will be due to a “lott’ry” rather than her own choice. The prince’s speeches are lover-like, but he is self-absorbed and boastful. Portia reminds him that the penalty for choosing wrongly is that he must remain unmarried. He agrees, and they go to dinner.

Lines 1–99:
Lancelet, the Clown, is contemplating running away from his master, whom he characterizes as a “fiend” and a “devil,” recurring imagery used in conjunction with Shylock. As he finally decides to “run,” he meets Old Gobbo, his father. Gobbo is blind and does not recognize his son, who decides to pretend to be someone
else, a situation that creates comedy, but which also reinforces the other instances of concealed/exchanged identity in the play. Gobbo reveals that he is looking for Shylock’s house and for his son, who Lancelet claims is dead, before revealing his true identity. Gobbo, however, will not believe that he is Lancelet. The confusion is resolved and Gobbo explains that he has brought Shylock a present, but Lancelet announces that he has run away from his master. He informs Gobbo that he intends to serve Bassanio, who gives “rare new liveries,” and tells him to give Bassanio the present.

Lines 100–191:
Bassanio enters, instructing a servant to have supper ready “by five of the clock,” and to ask Gratiano to come to his lodging. Lancelet urges his father to give him the present, and comic confusion is created as both men try to ask Bassanio if he will take Lancelet into service. Bassanio clarifies matters and agrees. Lancelet and Gobbo leave. Gratiano arrives and asks Bassanio if he may accompany him to Belmont. Bassanio agrees, but insists that Gratiano must be more modest in his behavior.

Jessica regrets that Lancelet is leaving, as he has made life in Shylock’s house less tedious. She gives him money, and a letter to deliver to Lorenzo, a guest at Bassanio’s house. Alone, Jessica reveals her “heinous sin”: she is ashamed to be her “father’s child.” She declares that, although she is of Shylock’s blood, she is not of “his manners,” creating an important distinction between faith and character, explored throughout the play. She reveals her intention to “Become a Christian” and marry Lorenzo.

Lorenzo and his friends prepare to disguise themselves as masquers and help Jessica escape from Shylock’s house that evening. Lancelet delivers her letter to Lorenzo and tells them that he is going to Shylock’s with an invitation to supper at Bassanio’s. Lorenzo gives him money and a message to Jessica that he will not fail her, and sends
Salerio and Solanio to prepare. He tells Gratiano that Jessica will be waiting to elope with “gold and jewels” and will disguise herself as Lorenzo’s torchbearer and escape as part of the masque.

Shylock warns Lancelet that his “eyes shall be thy judge” of the differences between himself and Bassanio, raising a motif of sight/ perception. He calls for Jessica and tells her that he is going out, although he is suspicious of Bassanio’s motives in inviting him, and fears some “ill a-brewing.” Lancelet tells him that there are to be masques that night, and Shylock warns Jessica to “Lock up” the house, and not to let the “sound of shallow fopp’ry enter / [His] sober house,” emphasizing his separation from the prevailing Venetian culture. As Lancelet goes, he whispers to Jessica to look out for “a Christian” (Lorenzo) during the masque. Shylock leaves, reminding Jessica to lock the doors, and she secretly bids him goodbye.

Gratiano and Salerio wait for Lorenzo. They are worried that he is late, particularly as “lovers ever run before the clock,” but he joins them and calls for Jessica. She appears, above, disguised in boy’s clothes, and throws Lorenzo a casket of money and jewels. She is embarrassed by her disguise, but Lorenzo urges her to “come at once.” As they wait for her, Lorenzo tells Gratiano that Jessica is “wise, fair and true.” She arrives and they go to join the masque, leaving Gratiano behind. Antonio arrives to tell Gratiano that “the wind is come about” and he must join Bassanio to sail for Belmont.

Portia shows the Prince of Morocco the three caskets. He reads the inscription on each: he has a choice between gaining “what many men desire” (the gold casket), getting “as much as he deserves” (silver),
or to “give and hazard all he hath” (lead). Portia tells him that the correct casket contains her portrait. The prince makes a long speech explaining his reasoning, but also, unwittingly, revealing his self-importance. He chooses the gold casket, which contains a skull “within whose empty eye / There is a written scroll” telling him that “All that glisters is not gold”: he has judged by appearances, ironically given his request to Portia in Act 2 Scene 1. In contrast to his earlier verbosity, he tells Portia that he is “too grieved” to “take a tedious leave,” and departs. Portia is pleased and expresses the wish that all of his “complexion” make a similar choice.

Shylock has discovered the disappearance of Jessica and his money. We learn about his response through the biased, unsympathetic report of Salerio and Solanio. Shylock and the Duke of Venice went to search Bassanio’s ship, which had already sailed. Antonio assured them that Lorenzo and Jessica were not on it. Solanio jeeringly reports Shylock’s confused rage and shouts of “My daughter! O my ducats! O my daughter!,” suggesting that he values them equally. Solanio observes that unless Antonio can “keep his day” for repaying Shylock financially, he will pay for these events. Salerio has heard that one of Antonio’s ships may have been lost. They speak of Antonio’s kind and generous nature, in direct contrast with the characterization of Shylock.

The Prince of Aragon has come to take the test for Portia’s hand. The process is repeated: the prince selects the silver casket and finds “The portrait of a blinking idiot,” holding another scroll. He protests. Portia’s observation that “To offend and judge are distinct offices / And of opposèd natures” emphasizes the theme of justice. The prince leaves, and Portia instructs Nerissa to “draw the curtain” on the caskets. A messenger brings news of the imminent arrival of a Venetian lord, who has sent greetings and gifts “of rich value.” Portia is eager to see the visitor, and Nerissa hopes it is Bassanio.

In Venice, Solanio and Salerio discuss the reported loss of another of Antonio’s ships. Shylock approaches and Solanio observes that “the devil” “comes in the likeness of a Jew.” Shylock accuses them of having a part in Jessica’s elopement, and they torment him, before asking if he has heard about Antonio’s losses at sea. Shylock recalls how “smug” Antonio has been in the past, and tells them that he must now “look to his bond.” Salerio asks what good taking Antonio’s flesh will do, to which Shylock replies “To bait fish,” adding that it will “feed” his “revenge,” showing his callousness. He argues that Antonio has “disgraced,” “hindered” and “mocked” him, solely because he is Jewish. He makes an impassioned speech, pointing out that he is “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 is.”