The Merchant of Venice

Act 1, Scene 1

Enter ANTONIO, SALARINO, and SOLANIO

ANTONIO, SALARINO, and SOLANIO enter.

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.

ANTONIO

To be honest, I don’t know why I’m so sad. I’m tired of it, and you say you’re tired of it too. But I have no idea how I got so depressed. And if I can’t figure out what’s making me depressed, I must not understand myself very well.

SALARINO

Your mind is tossing on the ocean,

There, where your argosies with portly sail,

Like signors and rich burghers on the flood—

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.

SALARINO

You’re worried about your ships. Your mind is out there getting tossed around on the ocean with them. But they’re fine. They’re like huge parade floats on the sea. They’re so big they look down on the smaller ships, which all have to bow and then get out of the way. Your ships fly like birds past those little boats.

SOLANIO

Believe me, sir, had I such venture forth,

The better part of my affections would

Be with my hopes abroad. I should be still

Plucking the grass to know where sits the wind,

Peering in maps for ports and piers and roads.

And every object that might make me fear

Misfortune to my ventures out of doubt

Would make me sad.

SOLANIO

Yes, believe me, if I had such risky business ventures in other countries, I’d be sad too. I’d worry about it every second. I’d constantly be tossing blades of grass into the air to find out which way the wind was blowing. I’d be peering over maps to figure out the best ports, piers, and waterways. Everything that made me worry about my ships 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 hourglass run,

But I should think of shallows and of flats

And see my wealthy Andrew docked in sand,

Vailing her high top lower than her ribs

To kiss her burial. Should I go to church

And see the holy edifice of stone

And not bethink me straight of dangerous rocks,

Which, touching but my gentle vessel’s side,

Would scatter all her spices on the stream,

Enrobe the roaring waters with my silks,

And, in a word, but even now worth this,

And now worth nothing? Shall I have the thought

To think on this, and shall I lack the thought

That such a thing bechanced would make me sad?

But tell not me. I know Antonio

Is sad to think upon his merchandise.

SALARINO

I’d get scared every time I blew on my soup to cool it, thinking of how a strong wind could wipe out my ships. Every time I glanced at the sand in an hourglass I’d imagine my ships wrecked on sandbars. I’d think of dangerous rocks every time I went to church and saw the stones it was made of. If my ship brushed up against rocks like that, its whole cargo of spices would be dumped into the sea. All of its silk shipments would be sent flying into the roaring waters. In one moment I’d go bankrupt. Who wouldn’t get sad thinking about things like that? It’s obvious. Antonio is sad because he’s so worried about his cargo.

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.

ANTONIO

No, that’s not it, trust me. Thankfully my financial situation is healthy. I don’t have all of my money invested in one ship, or one part of the world. If I don’t do well this year, I’ll still be okay. So it’s not my business that’s making me sad.

SOLANIO

Why then, you are in love.

SOLANIO

Well then, you must be in love.

ANTONIO

Fie, fie!

ANTONIO

Oh, give me a break.

SOLANIO

Not in love neither? Then let us say you are sad

Because you are not merry—and ’twere as easy

For you to laugh and leap and say you are merry

Because you are not sad. Now, by two-headed Janus,

Nature hath framed strange fellows in her time.

Some that will evermore peep through their eyes

And laugh like parrots at a bagpiper,

And other of such vinegar aspect

That they’ll not show their teeth in way of smile

Though Nestor swear the jest be laughable.

SOLANIO

You’re not in love either? Fine, let’s just say you’re sad because you’re not in a good mood. You know, it’d be just as easy for you to laugh and dance around and say you’re in a good mood. You could just say you’re not sad. Humans are so different. Some people will laugh at anything, and others are so grouchy they won’t even crack a smile when they hear something hysterically funny.

Enter BASSANIO, LORENZO, and GRATIANO

BASSANIO, LORENZO, and GRATIANO enter.

Here comes Bassanio, your most noble kinsman,

Gratiano, and Lorenzo. Fare ye well.

We leave you now with better company.

Here comes your cousin Bassanio. And Gratiano and Lorenzo too. Goodbye, then. We’ll leave you to talk to them. They’re better company.

SALARINO

I would have stayed till I had made you merry

If worthier friends had not prevented me.

SALARINO

I would’ve stayed to cheer you up, if your nobler friends hadn’t shown up.

ANTONIO

Your worth is very dear in my regard.

I take it your own business calls on you

And you embrace th’ occasion to depart.

ANTONIO

You’re both very precious to me. But I understand. You need to leave to take care of your own business.

SALARINO

(to BASSANIO, LORENZO, GRATIANO)

Good morrow, my good lords.

SALARINO

(to BASSANIO, LORENZO, and GRATIANO) Good morning, gentlemen.

BASSANIO

(to SALARINO and SOLANIO)

Good signors both, when shall we laugh? Say, when?

You grow exceeding strange. Must it be so?

BASSANIO

(to SALARINO and SOLANIO) Hello, friends. When are we going to have fun together again? Just name the time. We never see you anymore. Does it have to be that way?

SALARINO

We’ll make our leisures to attend on yours.

SALARINO

Let us know when you want to get together. We’re available.

Exeunt SALARINO and SOLANIO

SALARINO and SOLANIO exit.

LORENZO

My Lord Bassanio, since you have found Antonio,

We two will leave you. But at dinnertime

I pray you have in mind where we must meet.

LORENZO

Bassanio, we’ll say goodbye for now, since you’ve found Antonio. But don’t forget, we’re meeting for dinner tonight.

BASSANIO

I will not fail you.

BASSANIO

Don’t worry, I’ll be there.

GRATIANO

You look not well, Signor Antonio.

You have too much respect upon the world.

They lose it that do buy it with much care.

Believe me, you are marvelously changed.

GRATIANO

You don’t look well, Antonio. You’re taking things too seriously. People with too much invested in the world always get hurt. I’m telling you, you don’t look like yourself.

ANTONIO

I hold the world but as the world, Gratiano—

A stage where every man must play a part,

And mine a sad one.

ANTONIO

For me the world is just the world, Gratiano—a stage where every person has a part to play. I play a sad one.

GRATIANO

Let me play the fool.

With mirth and laughter let old wrinkles come.

And let my liver rather heat with wine

Than my heart cool with mortifying groans.

Why should a man whose blood is warm within

Sit like his grandsire cut in alabaster,

Sleep when he wakes, and creep into the jaundice

By being peevish? I tell thee what, Antonio—

I love thee, and ’tis my love that speaks—

There are a sort of men whose visages

Do cream and mantle like a standing pond,

And do a willful stillness entertain

With purpose to be dressed in an opinion

Of wisdom, gravity, profound conceit,

As who should say, “I am Sir Oracle,

And when I ope my lips, let no dog bark!”

O my Antonio, I do know of these

That therefore only are reputed wise

For saying nothing, when I am very sure

If they should speak, would almost damn those ears

Which, hearing them, would call their brothers fools.

I’ll tell thee more of this another time.

But fish not with this melancholy bait

For this fool gudgeon, this opinion.—

Come, good Lorenzo.—Fare ye well awhile.

I’ll end my exhortation after dinner.

GRATIANO

Then I’ll play the happy fool and get laugh lines on my face. I’d rather overload my liver with wine than starve my heart by denying myself fun. Why should any living man sit still like a statue? Why should he sleep when he’s awake? Why should he get ulcers from being crabby all the time? I love you, and I’m telling you this because I care about you, Antonio—there are men who always look serious. Their faces never move or show any expression, like stagnant ponds covered with scum. They’re silent and stern, and they think they’re wise and deep, important and respectable. When they talk, they think everybody else should keep quiet, and that even dogs should stop barking. I know a lot of men like that, Antonio. The only reason they’re considered wise is because they don’t say anything. I’m sure if they ever opened their mouths, everyone would see what fools they are. I’ll talk to you more about this some other time. In the meantime, cheer up. Don’t go around looking so glum. That’s my opinion, but what do I know? I’m a fool.—Let’s go, Lorenzo.—Goodbye for now. I’ll finish my lecture after dinner.

LORENZO

Well, we will leave you then till dinnertime.

I must be one of these same dumb wise men,

For Gratiano never lets me speak.

LORENZO

All right, we’ll see you at dinnertime. I must be one of these silent so-called wise men Gratiano’s talking about, because he never lets me get a word in.

GRATIANO

Well, keep me company but two years more,

Thou shalt not know the sound of thine own tongue.

GRATIANO

If you hang around me for two more years, you’ll forget the sound of your own voice. I won’t ever let you speak.

ANTONIO

Farewell. I’ll grow a talker for this gear.

ANTONIO

Goodbye. After that lecture of yours, I’ll start talking a lot.

GRATIANO

Thanks, i’ faith, for silence is only commendable

In a neat’s tongue dried and a maid not vendible.

GRATIANO

Thank you. The only tongues that should be silent are ox-tongues on a dinner plate and those that belong to old maids.

Exeunt GRATIANO and LORENZO

GRATIANO and LORENZO exit.

ANTONIO

Is that any thing now?

ANTONIO

Is he right?

BASSANIO

Gratiano speaks an infinite deal of nothing, more than any man in all Venice. His reasons are as two grains of wheat hid in two bushels of chaff—you shall seek all day ere you find them, and when you have them they are not worth the search.

BASSANIO

Gratiano talks more nonsense than any other man in Venice. His point is always like a needle in a haystack—you look for it all day, and when you find it you realize it wasn’t worth the trouble.

ANTONIO

Well, tell me now what lady is the same

To whom you swore a secret pilgrimage,

That you today promised to tell me of?

ANTONIO

So, who’s this girl, the one you said you were going to take a special trip for? You promised to tell me.

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,

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.

BASSANIO

Antonio, you know how bad my finances have been lately. I’ve been living way beyond my means. Don’t get me wrong, I’m not complaining about having to cut back. I just want to be honorable and pay off the big debts that piled up when I was living the high life. I’m in debt to many people, and I owe most to you, Antonio—both money and gratitude. And because you care about me, I know you’ll let me tell you my plan to clear all my debts.

ANTONIO

I pray you, good Bassanio, let me know it.

And if it stand, as you yourself still do,

Within the eye of honor, be assured

My purse, my person, my extremest means

Lie all unlocked to your occasions.

ANTONIO

Please let me know your plan, Bassanio. As long as it’s honorable, you can be sure that I’ll let you use all my money and do everything I can to help you.

BASSANIO

In my school days, when I had lost one shaft,

I shot his fellow of the selfsame flight

The selfsame way with more advisèd watch

To find the other forth—and by adventuring both,

I oft found both. I urge this childhood proof

Because what follows is pure innocence.

I owe you much, and, like a willful youth,

That which I owe is lost. But if you please

To shoot another arrow that self way

Which you did shoot the first, I do not doubt,

As I will watch the aim, or to find both

Or bring your latter hazard back again

And thankfully rest debtor for the first.

BASSANIO

Back when I was a schoolboy, if I lost an arrow I would try to find it by shooting another arrow in the same direction, watching the second arrow more carefully than I had the first. By risking the second arrow, I’d often get both of them back. I’m telling you this story for a reason. I owe you a lot, and like a spoiled kid I’ve lost what I owe you. But if you’d be willing to shoot another arrow the same way you shot the first, I’ll watch your arrow more carefully this time. Either we’ll get back all the money I owe you, or else we’ll get back what you lend me this time, and I’ll just owe you what I already owe you.

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 pressed unto it. Therefore speak.

ANTONIO

You know me better than that. You’re wasting your breath. All of this talk means you have doubts about my friendship. That’s worse than if you bankrupted me. Just tell me what to do, and I’ll do it. Tell me.

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

Renownèd suitors, and her sunny locks

Hang on her temples like a golden fleece,

Which makes her seat of Belmont Colchos’ strand,

And many Jasons come in quest of her.

O my Antonio, had I but the means

To hold a rival place with one of them,

I have a mind presages me such thrift

That I should questionless be fortunate!

BASSANIO

There’s a girl in Belmont who’s inherited a huge amount of money, and she’s beautiful and—even better—she’s a good person. I think she likes me. Sometimes the expression on her face tells me she likes me. Her name is Portia. She’s as rich as that famous Roman heroine Portia, the daughter of Cato and wife of Brutus. Her wealth is world-famous. Famous and important men have come in from all over the world to try to marry her. The hair that hangs down on her forehead is like gold, calling every adventurer to Belmont like a gold rush. Antonio, if I only had enough money to hold my own against those suitors, I know I could win her!

ANTONIO

Thou know’st that all my fortunes are at sea.

Neither have I money nor commodity

To raise a present sum. Therefore go forth,

Try what my credit can in Venice do—

That shall be racked even to the uttermost

To furnish thee to Belmont, to fair Portia.

Go presently inquire, and so will I,

Where money is, and I no question make

To have it of my trust or for my sake.

ANTONIO

You know right now all my money’s tied up in that cargo that’s still at sea. I can’t give you the cash you need because I don’t have it. But go ahead and charge things to me on credit, as much credit as I can get in Venice. I’ll use all my lines of credit to help you get to Belmont, to Portia. Go see who will lend money, and I’ll do the same. I’m sure I can get something either as a business loan, or as a personal favor.

Exeunt

They exit.

Act 1, Scene 2

Enter PORTIA and NERISSA

PORTIA and NERISSA enter.

PORTIA

By my troth, Nerissa, my little body is aweary of this great world.

PORTIA

Oh Nerissa, my poor little body is tired of this great big world.

NERISSA

You would be, sweet madam, if your miseries were in the same abundance as your good fortunes are. And yet for aught I see, they are as sick that surfeit with too much as they that starve with nothing. It is no mean happiness, therefore, to be seated in the mean. Superfluity comes sooner by white hairs, but competency lives longer.

NERISSA

You’d be tired, madam, if you had bad luck rather than wealth and good luck. But as far as I can tell, people with too much suffer as much as people with nothing. The best way to be happy is to be in between. When you have too much you get old sooner, but having just enough helps you live longer.

PORTIA

Good sentences, and well pronounced.

PORTIA

Good point, and well said.

NERISSA

They would be better if well followed.

NERISSA

It would be better if you actually applied it to your life.

PORTIA

If to do were as easy as to know what were good to do, chapels had been churches and poor men’s cottages princes’ palaces. It is a good divine that follows his own instructions. I can easier teach twenty what were good to be done than be one of the twenty to follow mine own teaching. The brain may devise laws for the blood, but a hot temper leaps o’er a cold decree. Such a hare is madness the youth—to skip o’er the meshes of good counsel the cripple. But this reasoning is not in the fashion to choose me a husband. O me, the word “choose!” I may neither choose whom I would nor refuse whom I dislike—so is the will of a living daughter curbed by the will of a dead father. Is it not hard, Nerissa, that I cannot choose one nor refuse none?

PORTIA

You think it’s that easy? If doing good deeds were as easy as knowing how to do them, then everyone would be better off. Small chapels would be big churches, and poor men’s cottages would be princes’ palaces. It takes a good priest to practice what he preaches. For me, it’s easier to lecture twenty people on how to be good than to be the one person out of twenty who actually does good things. The brain can tell the heart what to do, but what does it matter? Cold rules don’t matter when you’ve got a hot temper. Young people are like frisky young rabbits, and good advice is like a crippled old man trying to catch them. But thinking like this won’t help me choose a husband. Oh, the word “choose” is strange! I can’t choose who I like, or refuse who I dislike. I’m a living daughter still controlled by the wishes of her dead father. Isn’t it a pain that I can’t choose or refuse anyone, Nerissa?

NERISSA

Your father was ever virtuous, and holy men at their death have good inspirations. Therefore the lottery that he hath devised in these three chests of gold, silver, and lead, whereof who chooses his meaning chooses you, will no doubt never be chosen by any rightly but one who shall rightly love. But what warmth is there in your affection towards any of these princely suitors that are already come?

NERISSA

Your father was an extremely moral man, and religious people get odd ideas on their deathbeds. Your father’s idea was to have a game with three boxes. The suitor who can figure out whether to pick the gold, silver, or lead box will solve your father’s riddle—and that suitor’s the man for you. No one will ever choose the right box who doesn’t deserve your love. But tell me. Do you like any of the princely suitors who’ve come?

PORTIA

I pray thee, overname them. And as thou namest them, I will describe them. And according to my description, level at my affection.

PORTIA

Run through the list. As you name them I’ll describe them for you, and from my descriptions you can guess how I feel toward them.

NERISSA

First, there is the Neapolitan prince.

NERISSA

Well, first there was the prince from Naples.

PORTIA

Ay, that’s a colt indeed, for he doth nothing but talk of his horse, and he makes it a great appropriation to his own good parts that he can shoe him himself. I am much afeard my lady his mother played false with a smith.

PORTIA

Ah, yes, that stallion. All he talks about is his horse. He thinks it’s a great credit to his character that he can shoe a horse all by himself. I’m afraid his mother may have had an affair with a blacksmith.

NERISSA

Then there is the County Palatine.

NERISSA

Then there’s the Count Palatine.

PORTIA

He doth nothing but frown, as who should say, “An you will not have me, choose.” He hears merry tales and smiles not. I fear he will prove the weeping philosopher when he grows old, being so full of unmannerly sadness in his youth. I had rather be married to a death’s-head with a bone in his mouth than to either of these. God defend me from these two!

PORTIA

He does nothing but frown, as if he wants to say, “If you don’t want me, I don’t care.” He doesn’t even smile when he hears funny stories. If he’s so sad and solemn when he’s young, I can only imagine how much he’ll cry as an old man. No, I’d rather be married to a skull with a bone in its mouth than to either of those men. God protect me from these two!

NERISSA

How say you by the French lord, Monsieur le Bon?

NERISSA

What did you think about that French lord, Monsieur le Bon?

PORTIA

God made him and therefore let him pass for a man. In truth, I know it is a sin to be a mocker, but he!—why, he hath a horse better than the Neapolitan’s, a better bad habit of frowning than the Count Palatine. He is every man in no man. If a throstle sing, he falls straight a- capering. He will fence with his own shadow. If I should marry him, I should marry twenty husbands. If he would despise me I would forgive him, for if he love me to madness I shall never requite him.

PORTIA

We might as well call him a man, since God created him. No, I know it’s bad to make fun of people, but still! His horse is better than the Neapolitan’s and he frowns more than the Count Palatine. He was trying to outdo everyone so much that you couldn’t tell who he was. He started dancing every time a bird sang, and he was so eager to show off his fencing that he’d fight with his own shadow. If I married him, I might as well as marry twenty husbands, because he’s like twenty men all rolled into one! I’d understand it if he hated me, since even if he loved me desperately, I’d never be able to love him back.

NERISSA

What say you then to Falconbridge, the young baron of

England?

NERISSA

What about Falconbridge, that young English baron?

PORTIA

You know I say nothing to him, for he understands not me, nor I him. He hath neither Latin, French, nor Italian, and you will come into the court and swear that I have a poor pennyworth in the English. He is a proper man’s picture, but alas, who can converse with a dumb show? How oddly he is suited! I think he bought his doublet in Italy, his round hose in France, his bonnet in Germany, and his behavior everywhere.

PORTIA

I have no opinion about him. We don’t talk because we don’t understand each other. He doesn’t speak Latin, French, or Italian, and you know how little English I speak. He’s great-looking, but how can you talk to someone who doesn’t speak your language? He was dressed so oddly too! I think he got his jacket in Italy, his tights in France, his hat in Germany, and his behavior everywhere.

NERISSA

What think you of the Scottish lord, his neighbor?

NERISSA

What do you think of his neighbor, the Scottish lord?

PORTIA

That he hath a neighborly charity in him, for he borrowed a box of the ear of the Englishman and swore he would pay him again when he was able. I think the Frenchman became his surety and sealed under for another.

PORTIA

I think he’s very forgiving, since he let the Englishman slap him on the ear without hitting him back. Rather than defend himself, he just threatened to pay the Englishman back later. Then the Frenchman promised to help the Scot pay the Englishman back, and added a slap of his own.

NERISSA

How like you the young German, the Duke of Saxony’s nephew?

NERISSA

How did you like the young German, the duke of Saxony’s nephew?

PORTIA

Very vilely in the morning, when he is sober, and most vilely in the afternoon, when he is drunk. When he is best he is a little worse than a man, and when he is worst he is little better than a beast. And the worst fall that ever fell, I hope I shall make shift to go without him.

PORTIA

He’s pretty awful in the morning when he’s sobering up, and even worse in the afternoon when he’s drunk. At his best he’s a little less than a man, and at his worst he’s little more than an animal. If we got married and he tragically met his demise, I’m sure I could find a way to go on without him.

NERISSA

If he should offer to choose and choose the right casket, you should refuse to perform your father’s will if you should refuse to accept him.

NERISSA

If he offers to play the game and chooses the right box, but then you reject him, you’ll be disobeying your father’s last wishes.

PORTIA

Therefore, for fear of the worst, I pray thee, set a deep glass of rhenish wine on the contrary casket, for if the devil be within and that temptation without, I know he will choose it. I will do any thing, Nerissa, ere I’ll be married to a sponge.

PORTIA

I know. So please put a nice big glass of white wine on the wrong box. I know he’ll get tempted and choose that one. I’ll do anything rather than marry a drunk, Nerissa.

NERISSA

You need not fear, lady, the having any of these lords. They have acquainted me with their determinations, which is indeed to return to their home and to trouble you with no more suit unless you may be won by some other sort than your father’s imposition depending on the caskets.

NERISSA

You don’t have to worry about any of these lords, my lady. They’ve all told me what they want, which is to go back home and give up on you—unless there was some other way to win you than your father’s pick-the-box test.

PORTIA

If I live to be as old as Sibylla, I will die as chaste as Diana unless I be obtained by the manner of my father’s will. I am glad this parcel of wooers are so reasonable, for there is not one among them but I dote on his very absence. And I pray God grant them a fair departure.

PORTIA

I’ll die an old maid unless I can be won according to the rules set by my father’s will. I’m glad these suitors are sensible enough to stay away. The only thing I like about them is that they’re not there. I wish them all safe trips home.

NERISSA

Do you not remember, lady, in your father’s time a Venetian, a scholar and a soldier, that came hither in company of the Marquess of Montferrat?

NERISSA

Do you remember a Venetian scholar and soldier who accompanied the marquess of Montferrat here once when your father was still alive?

PORTIA

Yes, yes, it was Bassanio—as I think he was so called.

PORTIA

Yes, yes, that was Bassanio. I think that was his name.

NERISSA

True, madam. He, of all the men that ever my foolish eyes looked upon, was the best deserving a fair lady.

NERISSA

Yes, madam, that’s the one. He deserves a beautiful wife more than all the other men I’ve ever seen.

PORTIA

I remember him well, and I remember him worthy of thy praise.

PORTIA

I remember him well, and my memory tells me that he deserves your praise.

Enter a SERVINGMAN

A SERVANT enters.

How now, what news?

Hello, do you have any news?

SERVINGMAN

The four strangers seek for you, madam, to take their leave. And there is a forerunner come from a fifth, the Prince of Morocco, who brings word the prince his master will be here tonight.

SERVINGMAN

The four suitors are looking for you so they can say goodbye, madam. And there’s a messenger representing a fifth one, the prince of Morocco, who says the prince will be here tonight.

PORTIA

If I could bid the fifth welcome with so good a heart as I can bid the other four farewell, I should be glad of his approach. If he have the condition of a saint and the complexion of a devil, I had rather he should shrive me than wive me. Come, Nerissa.—(to SERVANT) Sirrah, go before. Whiles we shut the gates upon one wooer Another knocks at the door.

PORTIA

If I could say hello to the fifth one as happily as I’ll say goodbye to the first four, I’d be very happy he’s coming. If he’s as good as a saint but is black like a devil, I’d rather he hear my confession than marry me. Let’s go, Nerissa.—(to the SERVANT) Go ahead. As soon as we shut the door on one suitor, another one starts knocking.

Exeunt

They exit.

Act 1, Scene 3

Enter BASSANIO and SHYLOCK

BASSANIO and SHYLOCK enter.

SHYLOCK

Three thousand ducats, well.

SHYLOCK

Three thousand ducats, hmmm.

BASSANIO

Ay, sir, for three months.

BASSANIO

Yes, for three months.

SHYLOCK

For three months, well.

SHYLOCK

For three months, hmmm.

BASSANIO

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

BASSANIO

As I said before, Antonio will guarantee the loan. If I default, he’ll pay you.

SHYLOCK

Antonio shall become bound, well.

SHYLOCK

Antonio will guarantee it, hmmm.

BASSANIO

May you stead me? Will you pleasure me? Shall I know your answer?

BASSANIO

Can you help me? What’s your answer?

SHYLOCK

Three thousand ducats for three months, and Antonio bound.

SHYLOCK

Three thousand ducats for three months, and Antonio will guarantee it.

BASSANIO

Your answer to that?

BASSANIO

Your answer?

SHYLOCK

Antonio is a good man.

SHYLOCK

Antonio’s a good man.

BASSANIO

Have you heard any imputation to the contrary?

BASSANIO

Have you heard anything to the contrary?

SHYLOCK

Ho, no, no, no, no. My meaning in saying he is a good man is to have you understand me that he is sufficient. Yet his means are in supposition. He hath an argosy bound to Tripolis, another to the Indies. I understand moreover, upon the Rialto, he hath a third at Mexico, a fourth for England, and other ventures he hath squandered abroad. But ships are but boards, sailors but men. There be land rats and water rats, water thieves and land thieves—I mean pirates—and then there is the peril of waters, winds, and rocks. The man is notwithstanding sufficient.

SHYLOCK

What? No, no, no, no. What I meant in saying he’s a good man is that he has enough money to guarantee the loan. But his investments are uncertain right now. He has one ship bound for Tripoli, another heading for the Indies. What’s more, people at the Rialto tell me he has a third ship in Mexico, and a fourth in England, as well as other business ventures throughout the world. But ships are just fragile boards, and sailors are just men. There are rats and thieves and pirates—not to mention storms, winds, and rocks. Anything could happen. But in spite of all this, the man is still wealthy enough. Three thousand ducats—I think I can let him guarantee your loan.

BASSANIO

Be assured you may.

BASSANIO

I assure you he can.

SHYLOCK

I will be assured I may, and that I may be assured,

I will bethink me. May I speak with Antonio?

SHYLOCK

I will be sure he can, before I make the loan. And I’ll think of a way to be sure. Can I speak with Antonio?

BASSANIO

If it please you to dine with us.

BASSANIO

If you like, you can dine with us.

SHYLOCK

Yes—to smell pork, to eat of the habitation which your prophet the Nazarite conjured the devil into. I will buy with you, sell with you, talk with you, walk with you, and so following, but I will not eat with you, drink with you, nor pray with you. What news on the Rialto? Who is he comes here?

SHYLOCK

Oh yes—to smell pork ? I don’t think so!. Your prophet Jesus sent the devil into a herd of pigs. I’m not going to eat that. I’ll buy with you, sell with you, talk with you, walk with you, and so on, but I won’t eat with you, drink with you, or pray with you. Any news on the Rialto? Who’s that?

Enter ANTONIO

ANTONIO enters.

BASSANIO

This is Signor Antonio.

BASSANIO

This is Signor Antonio.

SHYLOCK

(aside) How like a fawning publican he looks!

I hate him for he is a Christian,

But more for that in low simplicity

He lends out money gratis and brings down

The rate of usance here with us in Venice.

If I can catch him once upon the hip,

I will feed fat the ancient grudge I bear him.

He hates our sacred nation, and he rails,

Even there where merchants most do congregate,

On me, my bargains and my well-won thrift,

Which he calls “interest.” Cursèd be my tribe

If I forgive him!

SHYLOCK

(to himself) He looks just like a guy who’s robbed me but now comes to beg me for a favor! I hate him because he’s a Christian. But more than that, I hate him because he stupidly lends money without interest, which lowers the interest rates here in Venice. If I can just get the upper hand of him once, I’ll satisfy my old grudge against him. He hates Jews. Even at the Rialto he’s always complaining about me and my negotiating and my hard-earned profits, which he calls “interest.” It would an insult to Jews everywhere to forgive that man!

BASSANIO

Shylock, do you hear?

BASSANIO

Shylock, are you listening?

SHYLOCK

I am debating of my present store,

And by the near guess of my memory

I cannot instantly raise up the gross

Of full three thousand ducats. What of that?

Tubal, a wealthy Hebrew of my tribe,

Will furnish me. But soft! How many months

Do you desire?

(to ANTONIO)

Rest you fair, good signor.

Your worship was the last man in our mouths.

SHYLOCK

I’m thinking about how much cash I have on hand. If I remember correctly, I can’t raise the entire three thousand ducats immediately. But so what? Tubal, a wealthy Jew I know, will supply me with the cash. But wait a minute! How many months do you want? (to ANTONIO) Oh, hello, how are you, signor? We were just talking about you.

ANTONIO

Shylock, albeit I neither lend nor borrow

By taking nor by giving of excess,

Yet to supply the ripe wants of my friend,

I’ll break a custom.

(to BASSANIO)

Is he yet possessed

How much ye would?

ANTONIO

Shylock, although I never lend or borrow with interest, I’m willing to break that habit to help a friend in need. (to BASSANIO) Does he know how much you need?

SHYLOCK

Ay, ay, three thousand ducats.

SHYLOCK

Oh yes, three thousand ducats.

ANTONIO

And for three months.

ANTONIO

For three months.

SHYLOCK

I had forgot—three months.

(to BASSANIO)

You told me so.

(to ANTONIO)

Well then, your bond, and let me see—But hear you,

Methought you said you neither lend nor borrow

Upon advantage.

SHYLOCK

Yes, I forgot—three months. (to BASSANIO) You told me that. (to ANTONIO) Now then, about your guarantee. Let me see—but listen, Antonio, I thought you said you don’t lend or borrow with interest.

ANTONIO

I do never use it.

ANTONIO

That’s right. That’s not how I do business.

SHYLOCK

When Jacob grazed his uncle Laban’s sheep—

This Jacob from our holy Abram was,

As his wise mother wrought in his behalf,

The third possessor, ay, he was the third—

SHYLOCK

When Jacob took care of his uncle Laban’s sheep—Jacob was the heir to his grandfather Abraham’s birthright, because his mother cleverly arranged for her husband Isaac to make Jacob his heir—

ANTONIO

And what of him? Did he take interest?

ANTONIO

What’s your point? Did he charge interest?

SHYLOCK

No, not take interest—not as you would say

Directly interest. Mark what Jacob did:

When Laban and himself were compromised

That all the eanlings which were streaked and pied

Should fall as Jacob’s hire, the ewes, being rank,

In the end of autumn turnèd to the rams.

And when the work of generation was

Between these woolly breeders in the act,

The skillful shepherd peeled me certain wands.

And in the doing of the deed of kind

He stuck them up before the fulsome ewes,

Who then conceiving did in eaning time

Fall parti-colored lambs—and those were Jacob’s.

This was a way to thrive, and he was blessed.

And thrift is blessing, if men steal it not.

SHYLOCK

No, he didn’t charge interest—not in your sense of the word. But listen to what Jacob did. When he and Laban agreed that all the spotted lambs would be Jacob’s pay, it was the end of autumn, when the sheep were starting to mate. Because newborns look like whatever their mother sees during mating, he stuck some spotted branches into the ground right in front of the sheep, who saw them while they mated. The mothers later gave birth to spotted lambs, all of which went to Jacob. That was his way of expanding his business, and it worked. My point is that profit is a blessing, as long as you don’t steal to get it.

ANTONIO

This was a venture, sir, that Jacob served for—

A thing not in his power to bring to pass

But swayed and fashioned by the hand of heaven.

Was this inserted to make interest good?

Or is your gold and silver ewes and rams?

ANTONIO

That business venture you’re referring to happened because God made it happen like that. Jacob didn’t have any control over what happened. Are you saying this story proves that charging interest makes sense? That your interest payments are like Jacob’s sheep?

SHYLOCK

I cannot tell: I make it breed as fast.

But note me, signor—

SHYLOCK

I can hardly tell the difference; I make my money multiply as fast as those sheep. But listen to me, signor—

ANTONIO

Mark you this, Bassanio,

The devil can cite Scripture for his purpose.

An evil soul producing holy witness

Is like a villain with a smiling cheek,

A goodly apple rotten at the heart.

Oh, what a goodly outside falsehood hath!

ANTONIO

Watch out, Bassanio. The devil can quote Scripture for his own use. An evil soul using a holy story is like a criminal who smiles at you. He looks like a good apple but he’s rotten at the core. Oh, liars can look so honest!

SHYLOCK

Three thousand ducats—’tis a good round sum.

Three months from twelve, then. Let me see. The rate—

SHYLOCK

Three thousand ducats. That’s a nice even sum. Three months from twelve months of the year. Let me see. The interest rate will be—

ANTONIO

Well, Shylock, shall we be beholding to you?

ANTONIO

Well, Shylock? Are you going to loan us the money?

SHYLOCK

Signor Antonio, many a time and oft

In the Rialto you have rated me

About my moneys and my usances.

Still have I borne it with a patient shrug,

For sufferance is the badge of all our tribe.

You call me misbeliever, cutthroat dog,

And spet upon my Jewish gaberdine—

And all for use of that which is mine own.

Well then, it now appears you need my help.

Go to, then! You come to me and you say,

“Shylock, we would have moneys.” You say so!—

You, that did void your rheum upon my beard

And foot me as you spurn a stranger cur

Over your threshold! Moneys is your suit.

What should I say to you? Should I not say,

“Hath a dog money? Is it possible

A cur can lend three thousand ducats?” Or

Shall I bend low and in a bondman’s key

With bated breath and whispering humbleness

Say this:

“Fair sir, you spet on me on Wednesday last;

You spurned me such a day; another time

You called me ’dog’—and for these courtesies

I’ll lend you thus much moneys?”

SHYLOCK

Signor Antonio, you’ve often insulted my money and my business practices in the Rialto. I have always just shrugged and put up with it because Jews are good at suffering. You called me a heathen, a dirty dog, and you spit on my Jewish clothes. And all because I use my own money to make a profit. And now it looks like you need my help. All right then. You come to me saying, “Shylock, we need money.” You say that!—even though you spat on my beard and kicked me like you’d kick a stray mutt out your front door. And now you’re asking for money. What can I tell you? Shouldn’t I say, “Does a dog have money? Is it possible for a mutt to lend three thousand ducats?” Or should I bend down low, and in a humble and submissive voice say: “Sir, last Wednesday you spit on me. You insulted me on this day, and another time you called me a dog. And out of gratitude for these favors, I’ll be happy to lend you the money?”

ANTONIO

I am as like to call thee so again,

To spet on thee again, to spurn thee too.

If thou wilt lend this money, lend it not

As to thy friends, for when did friendship take

A breed for barren metal of his friend?

But lend it rather to thine enemy,

Who, if he break, thou mayst with better face

Exact the penalty.

ANTONIO

I’ll probably call you those names again and spit on you, and reject you again too. If you’re going to lend us this money, don’t lend it to us as if we were your friends. When did friends charge interest? Instead, lend it to me as your enemy. If your enemy goes bankrupt, it’s easier for you to take your penalty from him.

SHYLOCK

Why, look you how you storm!

I would be friends with you and have your love,

Forget the shames that you have stained me with,

Supply your present wants and take no doit

Of usance for my moneys—and you’ll not hear me!

This is kind I offer.

SHYLOCK

Look at you getting all riled up! I want to be friends with you, and forget all the times you’ve embarrassed and humiliated me. I want to give you what you need, and not charge a penny of interest—but you won’t listen to me! I’m making a kind offer—zero percent financing.

BASSANIO

This were kindness.

BASSANIO

That really would be kind.

SHYLOCK

This kindness will I show.

Go with me to a notary, seal me there

Your single bond, and—in a merry sport—

If you repay me not on such a day,

In such a place, such sum or sums as are

Expressed in the condition, let the forfeit

Be nominated for an equal pound

Of your fair flesh, to be cut off and taken

In what part of your body pleaseth me.

SHYLOCK

I’ll show you how kind I am. Come with me to a notary and we’ll make it official. And let’s add a little clause just for a joke. If you don’t repay me on the day we agree on, in the place we name, for the sum of money fixed in our contract, your penalty will be a pound of your pretty flesh, to be cut off and taken out of whatever part of your body I like.

ANTONIO

Content, in faith. I’ll seal to such a bond,

And say there is much kindness in the Jew.

ANTONIO

It’s a deal. I’ll agree to those terms and even say that Jews are nice.

BASSANIO

You shall not seal to such a bond for me!

I’ll rather dwell in my necessity.

BASSANIO

No, you can’t sign a contract like that for me! I’d rather go without the money.

ANTONIO

Why, fear not, man. I will not forfeit it.

Within these two months—that’s a month before

This bond expires—I do expect return

Of thrice three times the value of this bond.

ANTONIO

Don’t worry about it, man, I won’t have to pay any penalty. In two months—a month before this loan is due—I expect to earn more than three times that much from my investments.

SHYLOCK

O Father Abram, what these Christians are,

Whose own hard dealings teaches them suspect

The thoughts of others!—Pray you, tell me this:

If he should break his day, what should I gain

By the exaction of the forfeiture?

A pound of man’s flesh taken from a man

Is not so estimable, profitable neither,

As flesh of muttons, beefs, or goats. I say,

To buy his favor I extend this friendship.

If he will take it, so. If not, adieu.

And for my love I pray you wrong me not.

SHYLOCK

Oh father Abraham, what kind of people are these Christians? Their own meanness teaches them to suspect other people!—Please tell me this. If he fails to repay me by the deadline, what would I get out of such a penalty? A pound of human flesh taken isn’t even as valuable as a pound of mutton or beef. I’m just offering this as a favor to a friend. If he agrees, great. If not, goodbye. And I hope you won’t think badly of me.

ANTONIO

Yes, Shylock, I will seal unto this bond.

ANTONIO

Yes, Shylock, I’ll sign the contract and agree to its terms.

SHYLOCK

Then meet me forthwith at the notary’s.

Give him direction for this merry bond,

And I will go and purse the ducats straight,

See to my house left in the fearful guard

Of an unthrifty knave, and presently

I will be with you.

SHYLOCK

Then meet me right away at the notary’s. Give him the instructions for our amusing little contract, and I’ll go get the money for you right away. I need to check in at home first, because one of my careless servants is in charge right now. I’ll see you soon.

ANTONIO

Hie thee, gentle Jew.

ANTONIO

Hurry up, my Jewish friend.

Exit SHYLOCK

SHYLOCK exits.

The Hebrew will turn Christian. He grows kind.

He’s so kind you’d think the Jew is turning Christian.

BASSANIO

I like not fair terms and a villain’s mind.

BASSANIO

I don’t like it when a villain acts nice.

ANTONIO

Come on. In this there can be no dismay.

My ships come home a month before the day.

ANTONIO

Come on, there’s no reason to worry. My ships will come home a month before the money is due.

Exeunt

They exit.

Act 2, Scene 1

Flourish cornets Enter the Prince of MOROCCO, a tawny Moor all in white, and three or four followers accordingly, with PORTIA, NERISSA, and their train

Trumpets play. The prince of MOROCCO , a brown-skinned man dressed in all white, enters, followed by three or four servants dressed in costumes like his. PORTIA, NERISSA, and their ATTENDANTS enter.

MOROCCO

Mislike me not for my complexion,

The shadowed livery of the burnished sun,

To whom I am a neighbor and near bred.

Bring me the fairest creature northward born,

Where Phoebus’ fire scarce thaws the icicles,

And let us make incision for your love

To prove whose blood is reddest, his or mine.

I tell thee, lady, this aspect of mine

Hath feared the valiant. By my love I swear

The best-regarded virgins of our clime

Have loved it too. I would not change this hue

Except to steal your thoughts, my gentle queen.

MOROCCO

Don’t hold my skin color against me. I was born and raised in the sun, which is why I’m dark-skinned. But I’m as red-blooded as any man. Show me the best-looking person born in the freezing north, where the sun barely thaws the icicles. I’ll win your love by cutting myself to prove to you I have redder blood than he does. I’m telling you, madam, my skin color has made brave men fear me and Moroccan girls love me. I wouldn’t change it except to make you think of me, my darling queen.

PORTIA

In terms of choice I am not solely led

By nice direction of a maiden’s eyes.

Besides, the lottery of my destiny

Bars me the right of voluntary choosing.

But if my father had not scanted me

And hedged me by his wit to yield myself

His wife who wins me by that means I told you,

Yourself, renownèd Prince, then stood as fair

As any comer I have looked on yet

For my affection.

PORTIA

Being good-looking isn’t the only way to my heart, you know. I have other criteria for choosing a husband. Not that it matters, because the box test takes away my free choice anyway. But if my father hadn’t restricted me like this—forcing me to marry whoever wins his test—then you’d have had as good a chance to marry me as any of the suitors I’ve met so far, prince.

MOROCCO

Even for that I thank you.

Therefore I pray you lead me to the caskets

To try my fortune. By this scimitar

That slew the Sophy and a Persian prince

That won three fields of Sultan Solyman,

I would o’erstare the sternest eyes that look,

Outbrave the heart most daring on the earth,

Pluck the young sucking cubs from the she-bear,

Yea, mock the lion when he roars for prey,

To win the lady. But, alas the while!

If Hercules and Lychas play at dice

Which is the better man, the greater throw

May turn by fortune from the weaker hand.

So is Alcides beaten by his page,

And so may I, blind fortune leading me,

Miss that which one unworthier may attain

And die with grieving.

MOROCCO

Thank you for saying that. Show me the caskets and let me try my luck. I swear by my sword, which killed the Shah of Persia and a Persian prince and defeated the Sultan Suleiman three times, that I would face the meanest-looking warriors on earth. I would act braver than the bravest man on earth. I would grab bear cubs from a ferocious mother bear, or tease a hungry lion—all of this in order to win your love, lady. But this is bad! If the hero Hercules and his servant Lychas rolled the dice, which would win? Not the greater hero. Just the one who happened to be luckier that time. And just as Hercules could be beaten by his servant, blind luck could make me lose this test and make someone worse than me win. If that happened, I’d die of sadness.

PORTIA

You must take your chance,

And either not attempt to choose at all

Or swear before you choose, if you choose wrong

Never to speak to lady afterward

In way of marriage. Therefore be advised.

PORTIA

You have to take your chances. Either don’t choose at all, or swear beforehand that if you choose incorrectly you’ll never talk about marriage to any woman again. Think about it carefully.

MOROCCO

Nor will not. Come, bring me unto my chance.

MOROCCO

Fine, I swear I won’t ever get married if I choose incorrectly. Let me take my chances.

PORTIA

First, forward to the temple. After dinner

Your hazard shall be made.

PORTIA

Let’s go to the temple first. You can take your chances after dinner.

MOROCCO

Good fortune then!—

To make me blessed or cursed’st among men.

MOROCCO

I’ll try my luck then. I’ll either be the luckiest or the unluckiest man alive.

Cornets

Trumpets play.

Exeunt

They exit.

Act 2, Scene 2

Enter LAUNCELOT the clown, alone

LAUNCELOT enters alone.

LAUNCELOT

Certainly my conscience will serve me to run from this Jew, my master. The fiend is at mine elbow and tempts me, saying to me, “Gobbo,” “Launcelot Gobbo,” “Good Launcelot,” or “Good Gobbo,” or “Good Launcelot Gobbo” —“use your legs, take the start, run away.” My conscience says, “No. Take heed, honest Launcelot. Take heed, honest Gobbo,” or as aforesaid, “Honest Launcelot Gobbo, do not run. Scorn running with thy heels.” Well, the most courageous fiend bids me pack. “Fia!” says the fiend. “Away!” says the fiend. “For the heavens, rouse up a brave mind,” says the fiend, “and run.” Well, my conscience, hanging about the neck of my heart, says very wisely to me, “My honest friend Launcelot, being an honest man’s son”—or rather an honest woman’s son, for indeed my father did something smack, something grow to. He had a kind of taste.—Well, my conscience says, “Launcelot, budge not.” “Budge!” says the fiend. “Budge not,” says my conscience. “Conscience,” say I, “you counsel well.” “Fiend,” say I, “you counsel well.” To be ruled by my conscience I should stay with the Jew my master, who, God bless the mark, is a kind of devil. And to run away from the Jew I should be ruled by the fiend, who, saving your reverence, is the devil himself. Certainly the Jew is the very devil incarnation. And in my conscience, my conscience is but a kind of hard conscience, to offer to counsel me to stay with the Jew. The fiend gives the more friendly counsel. I will run, fiend. My heels are at your command. I will run.

LAUNCELOT

I’m sure I’ll feel guilty if I run away from this Jew, my master. The devil’s on my shoulder, tempting me. He’s saying, “Gobbo,” “Launcelot Gobbo,” “Good Launcelot,” or “Good Gobbo,” or “Good Launcelot Gobbo”—“use your legs and run away.” But my conscience says, “No, Launcelot, calm down, don’t run away.” The devil’s urging me to leave. “Go away!” he says. “Run away! Be tough,” says the devil, “and run!” But then my conscience, hanging around my heart, says very wisely to me, “My good friend Launcelot, you’re a good boy, the son of an honest man,” really, that should be the son of an honest woman, since my father cheated on my mother. Anyway, my conscience says, “Stay put.” “Go,” the devil says. “Don’t go,” says my conscience. “Conscience,” I say, “you give good advice.” “Devil,” I say, “you give good advice.” If I listened to my conscience, I’d stay with the Jew my master, who’s a devil. But if I ran away from the Jew, I’d be following the advice of the devil, who’s the very devil himself. Certainly the Jew is the devil incarnate, and my conscience is giving me a hard time by telling me to stay with the Jew. The devil’s advice is nicer. I’ll run, devil. Tell me to run, and I’ll run.

Enter Old GOBBO with a basket

GOBBO enters with a basket.

GOBBO

Master young man, you, I pray you, which is the way to

Master Jew’s?

GOBBO

Excuse me, young man, how do I get to the Jew’s residence?

LAUNCELOT

(aside) O heavens, this is my true-begotten father, who, being more than sand-blind—high-gravel blind—knows me not. I will try confusions with him.

LAUNCELOT

(to himself) Good heavens, it’s my father. He doesn’t recognize me because he’s half-blind—or more than half-blind, somewhere between half-blind and totally blind. I’ll play a little game with him.

GOBBO

Master young gentleman, I pray you, which is the way to

Master Jew’s?

GOBBO

Young man, excuse me, how do I get to the Jew’s?

LAUNCELOT

Turn up on your right hand at the next turning, but at the next turning of all on your left. Marry, at the very next turning turn of no hand, but turn down indirectly to the Jew’s house.

LAUNCELOT

Turn right at the next turn, but at the following turn, turn left. Oh, and then at the very next turn, don’t turn left or right, but turn down and around to the Jew’s house.

GOBBO

By God’s sonties, ’twill be a hard way to hit. Can you tell me whether one Launcelot that dwells with him, dwell with him or no?

GOBBO

Good heavens, those are difficult directions. Can you tell me if a man named Launcelot, who lives with him, is still there?

LAUNCELOT

Talk you of young Master Launcelot? (aside) Mark me now. Now will I raise the waters.—Talk you of young Master Launcelot?

LAUNCELOT

Are you talking about young Master Launcelot? (speaking so no one else can hear) Watch out, I’m going to pull a good prank here.—Is that who you’re talking about?

GOBBO

No “master,” sir, but a poor man’s son. His father, though I say ’t, is an honest exceeding poor man and, God be thanked, well to live.

GOBBO

He’s not a “master,” sir, he’s just a poor man’s son. His father, if I do say so myself, is an honest but very poor man, and, thank God, likely to live a long time.

LAUNCELOT

Well, let his father be what he will, we talk of young

Master Launcelot.

LAUNCELOT

Well, his father can be whatever he wants to be. We’re talking about young Master Launcelot.

GOBBO

Your worship’s friend and Launcelot, sir.

GOBBO

Please don’t call him that, sir. He’s just Launcelot.

LAUNCELOT

But I pray you, ergo, old man, ergo, I beseech you, talk you of young Master Launcelot?

LAUNCELOT

But excuse me, ergo, old man, ergo, I’m asking you if you’re talking about young Master Launcelot.

GOBBO

Of Launcelot, an ’t please your mastership.

GOBBO

Yes, I’m talking about Launcelot, sir.

LAUNCELOT

Ergo, Master Launcelot. Talk not of Master Launcelot, Father, for the young gentleman, according to Fates and Destinies and such odd sayings, the Sisters Three and such branches of learning, is indeed deceased, or as you would say in plain terms, gone to heaven.

LAUNCELOT

Ergo , Master Launcelot. But please don’t talk about Master Launcelot, old man. The young gentleman, submitting to the fates, the three sisters who control destiny, and other branches of learning like that, is deceased. Or, to put it in plain language, he’s gone to heaven.

GOBBO

Marry, God forbid! The boy was the very staff of my age, my very prop.

GOBBO

Oh, no. God forbid! The boy was going to support me in my old age!

LAUNCELOT

Do I look like a cudgel or a hovel-post, a staff or a prop?

Do you know me, Father?

LAUNCELOT

What am I, a cane? How could I support anyone? Don’t you recognize me, father?

GOBBO

Alack the day, I know you not, young gentleman. But I pray you, tell me, is my boy, God rest his soul, alive or dead?

GOBBO

Heaven help me, I don’t know you, sir. But please tell me, is my boy—God rest his soul—alive or dead?

LAUNCELOT

Do you not know me, Father?

LAUNCELOT

You really don’t recognize me, father?

GOBBO

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

GOBBO

Sir, I’m half-blind. I don’t know you.

LAUNCELOT

Nay, indeed if you had your eyes, you might fail of the knowing me. It is a wise father that knows his own child. Well, old man, I will tell you news of your son. Give me your blessing. Truth will come to light. Murder cannot be hid long—a man’s son may, but in the end truth will out.

LAUNCELOT

Even if you had your eyes, you still might not recognize me. It takes a wise father to know his own child. Well, old man, I’ll tell you news of your son. Give me your blessing. The truth will come to light, and murder can’t be hidden long—a man’s son may hide, but truth will always come out.

GOBBO

Pray you, sir, stand up. I am sure you are not Launcelot, my boy.

GOBBO

Please stand up! I’m sure you aren’t Launcelot, my boy.

LAUNCELOT

Pray you, let’s have no more fooling about it, but give me your blessing. I am Launcelot, your boy that was, your son that is, your child that shall be.

LAUNCELOT

Come on, quit fooling around. Give me your blessing. I’m Launcelot, who was your boy, is your son, and will be your child.

GOBBO

I cannot think you are my son.

GOBBO

I can’t believe you’re my son.

LAUNCELOT

I know not what I shall think of that. But I am Launcelot, the Jew’s man, and I am sure Margery your wife is my mother.

LAUNCELOT

I don’t know what to say to that, but the fact is I’m Launcelot, the Jew’s servant, and Margery, your wife, is my mother.

GOBBO

Her name is Margery, indeed. I’ll be sworn, if thou be Launcelot, thou art mine own flesh and blood. (feels theback of LAUNCELOT’s head) Lord worshipped might he be, what a beard hast thou got! Thou hast got more hair on thy chin than Dobbin my fill-horse has on his tail.

GOBBO

Yes, you’re right, her name is Margery. If you’re Launcelot, then you’re my own flesh and blood. (feels the back of LAUNCELOT’s head) My Lord, what a bushy beard you have! You’ve got more hair on your chin than Dobbin my horse has in his tail.

LAUNCELOT

It should seem then that Dobbin’s tail grows backward. I am sure he had more hair of his tail than I have of my face when I last saw him.

LAUNCELOT

Then Dobbin’s tail must be growing backward. I’m sure he had more hair on his tail than I have on 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?

GOBBO

Lord, how you’ve changed! How are you and your master getting along? I’ve brought him a present. How are you?

LAUNCELOT

Well, well, but for mine own part, as I have set up my rest to run away, so I will not rest till I have run some ground. My master’s a very Jew. Give him a present. Give him a halter. I am famished in his service. You may tell every finger I have with my ribs. Father, I am glad you are 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.

LAUNCELOT

I’m all right. But I’ve decided to run away, and I can’t wait to get going. My master’s a total Jew. You’re giving him a present? Give him a noose to hang himself. He’s starving me to death. You can see my ribs so well you can count them. I’m glad you’ve come, father. Give me your present to give to Master Bassanio. He gives his servants beautiful new uniforms. If I can’t get a job with him, I’ll run away to the ends of the earth.—Oh look, this is lucky, here comes Master Bassanio now.—Let’s go talk to him, Father. If I work for the Jew any longer, you can just call me a Jew.

Enter BASSANIO with LEONARDO and another follower or two

BASSANIO enters with LEONARDO and an attendant or two.

BASSANIO

(to a follower) 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.

BASSANIO

(to an attendant) All right, go ahead. But do everything quickly. Supper must be ready at five at the latest. Make sure these letters get delivered, get the uniforms made, and tell Gratiano to come visit me soon.

Exit follower

The attendant exits.

LAUNCELOT

To him, Father.

LAUNCELOT

Go talk to him, father.

GOBBO

(to BASSANIO) God bless your worship!

GOBBO

(to BASSANIO) God bless you, sir!

BASSANIO

Gramercy! Wouldst thou aught with me?

BASSANIO

Thank you. What do you want with me?

GOBBO

Here’s my son, sir, a poor boy—

GOBBO

This is my son, sir. He’s a poor boy—

LAUNCELOT

Not a poor boy, sir, but the rich Jew’s man that would, sir, as my father shall specify—

LAUNCELOT

Not a poor boy, but the rich Jew’s servant, who wants, as my father will explain—

GOBBO

He hath a great infection, sir, as one would say, to serve—

GOBBO

He wants very much, sir, as one might say, to work for—

LAUNCELOT

Indeed the short and the long is, I serve the Jew and have a desire, as my father shall specify—

LAUNCELOT

To put it briefly, I work for the Jew, and I want, as my father will tell you—

GOBBO

His master and he, saving your worship’s reverence, are scarce cater-cousins—

GOBBO

He and his master aren’t exactly friends—

LAUNCELOT

To be brief, the very truth is that the Jew, having done me wrong, doth cause me, as my father, being, I hope, an old man, shall frutify unto you—

LAUNCELOT

To be brief, the truth is that the Jew has done me wrong, and that forces me to—as my father, an old man, will inform you—

GOBBO

I have here a dish of doves that I would bestow upon your worship, and my suit is—

GOBBO

I have a present I’d like to give you, sir. And I want to request that—

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—

LAUNCELOT

To make a long story short, the request is about me, as this good old man will tell you. Even though I’m his son and I’m the one saying it, this old man is a poor man—

BASSANIO

One speak for both. What would you?

BASSANIO

One of you do the talking. What do you want?

LAUNCELOT

Serve you, sir.

LAUNCELOT

To work for you, sir.

GOBBO

That is the very defect of the matter, sir.

GOBBO

That’s what we’re trying to say, sir.

BASSANIO

I know thee well. Thou hast obtained thy suit.

Shylock thy master spoke with me this day,

And hath preferred thee, if it be preferment

To leave a rich Jew’s service, to become

The follower of so poor a gentleman.

BASSANIO

I know who you are. You can have what you want. I spoke with your master Shylock today, and he recommended you to me. If you want to leave a rich Jew to work for a poor gentleman, you’re welcome to.

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.”

LAUNCELOT

Do you know the old proverb “The grace of God is enough,” sir? It could be divided between you and my boss Shylock—you have “the grace of God,” and he has “enough.”

BASSANIO

Thou speak’st it well.—Go, father, with thy son.—

Take leave of thy old master and inquire

My lodging out.—

(to followers)

Give him a livery

More guarded than his fellows’. See it done.

BASSANIO

Nicely put.—Go with your son, old man.—Say goodbye to your old master and find your way to my house. (to attendants) Give him a uniform that’s a little nicer than the others. Make sure it gets done.

LAUNCELOT

Father, in. I cannot get a service, no. I have ne’er a tongue in my head. (reading his own palm) 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! 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.

LAUNCELOT

Father, go ahead. I can’t get a job, can I? I can’t talk well, no. (reading his own palm) If any man in Italy has a palm good enough to swear on a Bible with, it’s me. I’ve got very good luck! Here’s my life line. It shows a few wives—fifteen wives is nothing. Eleven widows and nine maids is a humble beginning for one man. It seems I’ll almost drown three times, and my life will be in danger when I’m caught in bed with another man’s wife! But these little lines are the escape routes I can take to get out of that one. If luck’s a lady, she’s good at this business. Father, let’s go. I’ll leave the Jew behind in the blink of an eye.

Exit LAUNCELOT the clown with Old GOBBO

LAUNCELOT and GOBBO exit.

BASSANIO

I pray thee, good Leonardo, think on this.

These things being bought and orderly bestowed,

Return in haste, for I do feast tonight

My best esteemed acquaintance. Hie thee, go.

BASSANIO

Please, Leonardo, think about this (he hands him a piece of paper). These things have been bought and are ready. Hurry back here. I’m having dinner tonight with someone I greatly respect. Go now.

LEONARDO

My best endeavours shall be done herein.

LEONARDO

I’ll do my best.

Enter GRATIANO

GRATIANO enters.

GRATIANO

(to LEONARDO) Where is your master?

GRATIANO

(to LEONARDO) Where’s your master?

LEONARDO

Yonder, sir, he walks.

LEONARDO

He’s walking over there, sir.

Exit LEONARDO

LEONARDO exits.

GRATIANO

Signor Bassanio!

GRATIANO

Signor Bassanio!

BASSANIO

Gratiano!

BASSANIO

Gratiano!

GRATIANO

I have a suit to you.

GRATIANO

I have a favor to ask.

BASSANIO

You have obtained it.

BASSANIO

Anything.

GRATIANO

You must not deny me. I must go with you to Belmont.

GRATIANO

Don’t say no. Let me go with you to Belmont.

BASSANIO

Why, then you must. But hear thee, Gratiano.

Thou art too wild, too rude and bold of voice—

Parts that become thee happily enough

And in such eyes as ours appear not faults.

But where thou art not known, why, there they show

Something too liberal. Pray thee, take pain

To allay with some cold drops of modesty

Thy skipping spirit, lest through thy wild behavior

I be misconst’red in the place I go to,

And lose my hopes.

BASSANIO

Well, if you have to go, you have to go. But listen to me, Gratiano. Sometimes you get a bit too wild, and you let your voice get a bit loud and rude. These things look good on you, of course, and to people like you and me there’s nothing wrong with it. But in places where people don’t know you, your behavior might seem too wild. Please, try to act a little more serious, or the people in Belmont will get the wrong impression about me, and your wildness will make me blow my chance with Portia.

GRATIANO

Signor Bassanio, hear me.

If I do not put on a sober habit,

Talk with respect and swear but now and then,

Wear prayer books in my pocket, look demurely—

Nay more. While grace is saying, hood mine eyes

Thus with my hat, and sigh and say, “Amen”—

Use all the observance of civility

Like one well studied in a sad ostent

To please his grandam, never trust me more.

GRATIANO

Listen, Signor Bassanio, there’s nothing to worry about. I’ll be solemn-looking, I’ll talk with respect, and I’ll only swear once in a while. I’ll carry prayer books in my pocket and look sweet—even more. While grace is being said, I’ll be modest and say “amen”—I’ll watch my manners as if I’m trying to please my grandma. If I don’t do all this, never trust me again.

BASSANIO

Well, we shall see your bearing.

BASSANIO

Well, we’ll see how you act.

GRATIANO

Nay, but I bar tonight. You shall not gauge me

By what we do tonight.

GRATIANO

Okay, but tonight doesn’t count. You can’t judge me based on what I do tonight.

BASSANIO

No, that were pity.

I would entreat you rather to put on

Your boldest suit of mirth, for we have friends

That purpose merriment. But fare you well.

I have some business.

BASSANIO

No, it’d be a shame for you to act serious tonight. I’d rather see you having fun, because we have friends coming who want to have fun. Anyway, I have to say goodbye to you now. I’ve got some business to take care of.

GRATIANO

And I must to Lorenzo and the rest.

But we will visit you at supper time.

GRATIANO

I have to join Lorenzo and the others, but we’ll visit you at supper time.

Exeunt severally

They exit.

Act 2, Scene 3

Enter JESSICA and LAUNCELOT the clown

JESSICA and LAUNCELOT enter.

JESSICA

I am sorry thou wilt leave my father so.

Our house is hell, and thou, a merry devil,

Didst rob it of some taste of tediousness.

But fare thee well, there is a ducat for thee.

And Launcelot, soon at supper shalt thou see

Lorenzo, who is thy new master’s guest.

Give him this letter.

(gives LAUNCELOT a letter)

Do it secretly.

And so farewell. I would not have my father

See me in talk with thee.

JESSICA

I’m sorry you’re leaving my father like this. It’s hell in our house, and you helped cheer it up, like a funny devil. But goodbye. Here’s a ducat for you. You’ll soon be meeting Lorenzo at supper; he’ll be a guest of your new master. Give him this letter. (gives LAUNCELOT a letter) Do it secretly. Goodbye. I don’t want my father to see me talking to you.

LAUNCELOT

Adieu! Tears exhibit my tongue. Most beautiful pagan, most sweet Jew! If a Christian do not play the knave and get thee, I am much deceived. But adieu. These foolish drops do something drown my manly spirit. Adieu.

LAUNCELOT

Goodbye. My tears show you my feelings, my beautiful pagan, my sweet Jew! I’m sure some Christian will resort to trickery to get you. But goodbye. It’s not manly to cry. Goodbye.

JESSICA

Farewell, good Launcelot.

JESSICA

Goodbye, Launcelot.

Exit LAUNCELOT

LAUNCELOT exits.

Alack, what heinous sin is it in me

To be ashamed to be my father’s child!

But though I am a daughter to his blood,

I am not to his manners. O Lorenzo,

If thou keep promise, I shall end this strife,

Become a Christian and thy loving wife.

Oh God, what a heinous sinner I am, being ashamed to be my father’s child! But I need to remember I’m related to him by blood, not behavior. Oh Lorenzo, if you keep your promise to me, I’ll end this agony by becoming a Christian and marrying you.

Exit

She exits.

Act 2, Scene 4

Enter GRATIANO, LORENZO, SALARINO, and SOLANIO

GRATIANO, LORENZO, SALARINO, and SOLANIO enter.

LORENZO

Nay, we will slink away in supper time,

Disguise us at my lodging, and return,

All in an hour.

LORENZO

No, we’ll sneak away at supper time, disguise ourselves with masks at my house, and come back in an hour.

GRATIANO

We have not made good preparation.

GRATIANO

But we haven’t made any preparations.

SALARINO

We have not spoke us yet of torchbearers.

SALARINO

We haven’t even talked about who’ll be our torchbearers.

SOLANIO

’Tis vile, unless it may be quaintly ordered,

And better in my mind not undertook.

SOLANIO

The masquerade party might turn out terribly if we don’t manage things carefully. I think it’s better to call it off.

LORENZO

’Tis now but four o’clock. We have two hours

To furnish us.

LORENZO

It’s only four o’clock now. We have two hours to get ready.

Enter LAUNCELOT with a letter

LAUNCELOT enters with a letter.

Friend Launcelot, what’s the news?

Launcelot, what’s going on?

LAUNCELOT

(giving LORENZO the letter)

An it shall please you to break up this, it shall seem to signify.

LAUNCELOT

(he gives LORENZO the letter) If you don’t mind opening this letter, you can find out for yourself.

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.

LORENZO

I recognize the handwriting. It’s beautiful handwriting. And the beautiful hand that wrote this letter is whiter than the paper it’s written on.

GRATIANO

Love news, in faith?

GRATIANO

I bet it’s a love letter!

LAUNCELOT

(to LORENZO) By your leave, sir.

LAUNCELOT

(to LORENZO) May I be excused, sir?

LORENZO

Whither goest thou?

LORENZO

Where are you going?

LAUNCELOT

Marry, sir, to bid my old master the Jew to sup tonight with my new master the Christian.

LAUNCELOT

To invite my former boss, the Jew, to dine tonight with my new master, the Christian.

LORENZO

(giving LAUNCELOT money)

Hold here, take this. Tell gentle Jessica

I will not fail her. Speak it privately.—

Go, gentlemen,

Will you prepare you for this masque tonight?

I am provided of a torchbearer.

LORENZO

(he gives LAUNCELOT money) Hold on, take this. Tell Jessica I won’t fail her. Tell her in private.—Go, gentlemen, get ready for the masquerade tonight. I have someone who can be my torchbearer.

Exit LAUNCELOT the clown

LAUNCELOT exits.

SALARINO

Ay, marry, I’ll be gone about it straight.

SALARINO

All right, I’ll go get things ready.

SOLANIO

And so will I.

SOLANIO

Me too.

LORENZO

Meet me and Gratiano

At Gratiano’s lodging some hour hence.

LORENZO

Meet me and Gratiano at his house in about an hour.

SALARINO

’Tis good we do so.

SALARINO

It’s good we’re doing this.

Exeunt SALARINO and SOLANIO

SALARINO and SOLANIO exit.

GRATIANO

Was not that letter from fair Jessica?

GRATIANO

Wasn’t that letter from Jessica?

LORENZO

I must needs tell thee all. She hath directed

How I shall take her from her father’s house,

What gold and jewels she is furnished 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.

(gives GRATIANO the letter)

Peruse this as thou goest.

Fair Jessica shall be my torchbearer.

LORENZO

I have to tell you everything. She’s told me how I can get her out of her father’s house. She’s also told me what gold and jewels she owns, and she’s described the page’s uniform she’s keeping to wear as a disguise. If her father ever goes to heaven, it’ll be because his daughter’s so good. She’ll never be punished with bad luck—unless it’s because her father is an unbelieving Jew. Come with me. (gives GRATIANO the letter) You can look this letter over as you go. Beautiful Jessica will be my torchbearer.

Exeunt

They exit.

Act 2, Scene 5

Enter SHYLOCK the Jew and his man LAUNCELOT that was the clown

SHYLOCK and LAUNCELOT enter

SHYLOCK

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!

SHYLOCK

Well, you’ll see it with your own eyes. You’ll see the difference between working for Shylock and working for Bassanio.—(calling for his daughter) Jessica!—You won’t eat like a pig like you used to do at my place.—Jessica!—And sleep, and snore, and wear your clothes out.—Jessica, I’m calling you!

LAUNCELOT

Why, Jessica!

LAUNCELOT

Jessica!

SHYLOCK

Who bids thee call? I do not bid thee call.

SHYLOCK

Who asked you to call her? I’m not asking you to call her.

LAUNCELOT

Your worship was wont to tell me that I could do nothing without bidding.

LAUNCELOT

You always loved to tell me I couldn’t do anything without being told.

Enter JESSICA

JESSICA enters.

JESSICA

Call you? What is your will?

JESSICA

Did you call me? Do you need something?

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 tonight.

SHYLOCK

I’ve been invited to supper, Jessica. Here are my keys.—But why should I go? I wasn’t invited because they like me. They’re just flattering me. But I’ll go out of spite, to feed off the wasteful Christian.—Jessica, my girl, watch the house. I don’t feel like going. Things aren’t going my way right now. I know because I dreamed of money bags last night.

LAUNCELOT

I beseech you, sir, go. My young master doth expect your reproach.

LAUNCELOT

Please go, sir. My new master is expecting your approach.

SHYLOCK

So do I his.

SHYLOCK

And I’m expecting his reproach.

LAUNCELOT

And they have conspired together. I will not say you shall see a masque, but if you do then it was not for nothing that my nose fell a-bleeding on Black Monday last at six o’clock i’ th’ morning falling out that year on Ash Wednesday was four year in th’ afternoon.

LAUNCELOT

And they’ve been plotting things together. I’m not saying you’ll get a masquerade party, but if you do, I predicted it. I knew there would be a masquerade when I got that bad omen of a bloody nose last Easter Monday, at six in the morning, four years after I got the same kind of bloody nose on Ash Wednesday, in the afternoon.

SHYLOCK

What, are there masques? Hear you me, Jessica.

Lock up my doors, and when you hear the drum

And the vile squealing of the wry-necked fife,

Clamber not you up to the casements then,

Nor thrust your head into the public street

To gaze on Christian fools with varnished 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 tonight.

But I will go.—Go you before me, sirrah.

Say I will come.

SHYLOCK

What, there’s going to be a masquerade? Listen to me, Jessica, lock my doors up, and when you hear the drum and the nasty squealing of the flute, don’t climb up to the windows. Don’t stick your head out into the public street to stare at the Christian fools with painted faces. Block up my house’s ears—I mean the windows. Don’t let the noise of shallow fools enter my serious house. I swear, I’m in no mood to go out to dinner tonight, but I’ll go anyway.—Launcelot, go tell them I’ll come.

LAUNCELOT

I will go before, sir.—

Mistress, look out at window, for all this.

There will come a Christian by

Will be worth a Jewess’ eye.

LAUNCELOT

I’ll go ahead of you, sir. (to JESSICA) Mistress, be on the lookout when you’re staring out the window. A Christian’s coming who’ll be worth a Jewess’ glance.

Exit LAUNCELOT

LAUNCELOT exits.

SHYLOCK

What says that fool of Hagar’s offspring, ha?

SHYLOCK

What did that gentile fool say to you, hmmm?

JESSICA

His words were, “Farewell, mistress.” Nothing else.

JESSICA

He said “Goodbye, madam,” and nothing else.

SHYLOCK

The patch is kind enough, but a huge feeder,

Snail-slow in profit, and he sleeps by day

More than the wildcat. Drones hive not with me.

Therefore I part with him, and part with him

To one that would have him help to waste

His borrowed purse. Well, Jessica, go in.

Perhaps I will return immediately.

Do as I bid you. Shut doors after you.

Fast bind, fast find.

A proverb never stale in thrifty mind.

SHYLOCK

The fool’s nice enough, but he’s such a huge eater, and slow as a snail when he works. He sleeps all day like a cat. Bees that don’t work can’t stay in my hive, so I’m letting him go, handing him off so he can waste money for his new boss, the man who borrowed money from me. Anyway, Jessica, go inside. I might come back soon. Do as I told you. Shut the doors after you. As the saying goes, lock things up, and you’ll get to keep them.

Exit SHYLOCK

He exits.

JESSICA

Farewell, and if my fortune be not crost,

I have a father, you a daughter, lost.

JESSICA

Goodbye. If luck’s with me, I’ll lose a father, and you’ll lose a daughter.

Exit

She exits.

Act 2, Scene 6

Enter the masquers GRATIANO and SALARINO

RATIANO and SALARINO enter, dressed for the masquerade ball.

GRATIANO

This is the penthouse under which Lorenzo

Desired us to make stand.

GRATIANO

This is the roof under which Lorenzo said to meet him.

SALARINO

His hour is almost past.

SALARINO

He’s late.

GRATIANO

And it is marvel he outdwells his hour,

For lovers ever run before the clock.

GRATIANO

Yes, and that’s surprising, because lovers are usually early.

SALARINO

Oh, ten times faster Venus’ pigeons fly

To seal love’s bonds new made than they are wont

To keep obligèd faith unforfeited.

SALARINO

Yes, for new lovers time passes ten times faster than for couples who’ve been married forever.

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

His tedious measures with the unbated fire

That he did pace them first? All things that are,

Are with more spirit chasèd than enjoyed.

How like a younger or a prodigal

The scarfèd bark puts from her native bay,

Hugged and embraèd by the strumpet wind!

How like the prodigal doth she return,

With overweathered ribs and ragged sails

Lean, rent, and beggared by the strumpet wind!

GRATIANO

That’s always true. Who gets up from a meal with the same appetite he had when he sat down? Can any horse retrace his footsteps with the same energy he had when he walked them the first time? We chase everything in life more excitedly than we actually enjoy it when we get it. It’s like when a ship sails out of the harbor with all its flags waving, gently pushed by the wind. When that ship returns, her timber is all weather-beaten and her sails are ragged. That same wind makes the ship thin and poor.

SALARINO

Here comes Lorenzo. More of this hereafter.

SALARINO

Here comes Lorenzo. We’ll talk about this later.

Enter LORENZO

LORENZO enters.

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?

LORENZO

My dear friends, thanks for your patience. I had business that made me late. When you have to steal your own wives some day, I’ll wait for you just as long. Come over here. My future father-in-law, the Jew, lives here.—Hey! Who’s in there?

Enter JESSICA above, disguised as a boy

JESSICA appears above, disguised as a boy.

JESSICA

Who are you? Tell me for more certainty,

Albeit I’ll swear that I do know your tongue.

JESSICA

Who are you? Tell me so I can be sure, though I swear I recognize your voice.

LORENZO

Lorenzo, and thy love.

LORENZO

I’m Lorenzo, your love.

JESSICA

Lorenzo certain, and my love indeed—

For who love I so much? And now who knows

But you, Lorenzo, whether I am yours?

JESSICA

Lorenzo, that’s for sure, and I’m also sure you’re my love—who else do I love so much? And now who but you knows whether I’m yours?

LORENZO

Heaven and thy thoughts are witness that thou art.

LORENZO

As God is my witness, you know you’re mine.

JESSICA

Here, catch this casket. It is worth the pains.

I am glad ’tis night, you do not look on me,

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 transformèd to a boy.

JESSICA

Here, catch this box. It’ll be worth your while. I’m glad it’s nighttime and you can’t see me. I’m ashamed of my disguise. But love is blind, and lovers can’t see the silly things they do around each other. If they could, Cupid himself would be embarassed to see me dressed up as a boy.

LORENZO

Descend, for you must be my torchbearer.

LORENZO

Come down here. You have to be my torchbearer for the masquerade.

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.

JESSICA

What, I have to hold a candle up so people can see what I’m doing? The truth is, I’m behaving like a loose woman. The torchbearer is supposed to bring light and love, but I should be hidden away in the dark.

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 stayed for at Bassanio’s feast.

LORENZO

You’re hidden away, sweetheart, dressed up like a boy. Come on quickly. Time flies at night, and we’re late for Bassanio’s feast.

JESSICA

I will make fast the doors and gild myself

With some more ducats, and be with you straight.

JESSICA

I’ll lock up the doors, grab some more ducats, and be with you right away.

Exit JESSICA above

JESSICA exits from above.

GRATIANO

Now, by my hood, a gentle and no Jew.

GRATIANO

My God, she can’t be a Jew, she’s too nice!

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 placèd in my constant soul.

LORENZO

God, I’m crazy about her. She’s wise, if I’m judging her right. She’s beautiful, if my eyes can see. And she’s loyal, as she has proven. And as long as she’s herself—wise, beautiful, and faithful—she’ll always have a place in my heart.

Enter JESSICA

JESSICA enters.

What, art thou come?—On, gentlemen, away!

Our masquing mates by this time for us stay.

Ah, you’re here?—Come on, gentlemen, let’s go! Our masquerade mates are waiting for us.

Exit LORENZO with JESSICA and SALARINO

LORENZO, JESSICA, and SALARINO exit.

Enter ANTONIO

ANTONIO enters.

ANTONIO

Who’s there?

ANTONIO

Who’s there?

GRATIANO

Signor Antonio?

GRATIANO

Signor Antonio?

ANTONIO

Fie, fie, Gratiano! Where are all the rest?

’Tis nine o’clock. Our friends all stay for you.

No masque tonight. The wind is come about.

Bassanio presently will go aboard.

I have sent twenty out to seek for you.

ANTONIO

Gratiano, where is everybody? It’s nine o’clock! Our friends are all waiting for you. There’s no masquerade tonight. The wind is blowing right, so Bassanio’s going onboard immediately. I’ve sent twenty people to look for you.

GRATIANO

I am glad on ’t. I desire no more delight

Than to be under sail and gone tonight.

GRATIANO

I’m glad. I want to head out tonight.

Exeunt

They exit.

Act 2, Scene 7

Flourish cornets Enter PORTIA with the Prince of MOROCCO, and both their trains

Trumpets play. PORTIA enters with the prince of MOROCCO and both their entourages.

PORTIA

(to servant) Go draw aside the curtains and discover

The several caskets to this noble prince.—

(A curtain is drawn showing a gold, silver, and lead casket)

(to MOROCCO) Now make your choice.

PORTIA

(to servant) Go open the curtains and show the different boxes to the prince. A curtain is drawn revealing showing three caskets: one gold, one silver, and one lead. (to MOROCCO) Now make your choice.

MOROCCO

The first, of gold, who this inscription bears:

“Who chooseth me shall gain what many men desire.”

The second, silver, which this promise carries:

“Who chooseth me shall get as much as he deserves.”

This third, dull lead, with warning all as blunt:

“Who chooseth me must give and hazard all he hath.”

How shall I know if I do choose the right?

MOROCCO

The first one, the gold one, has an inscription that says, “He who chooses me will get what many men want.” The second one, the silver one, says, “He who chooses me will get what he deserves.” And this third one is made of dull lead. It has a blunt warning that says, “He who chooses me must give and risk all he has.” How will I know if I chose the right one?

PORTIA

The one of them contains my picture, Prince.

If you choose that, then I am yours withal.

PORTIA

One of them contains my picture. If you choose that one, I’m yours, along with the picture.

MOROCCO

Some god direct my judgment! Let me see.

I will survey th’ inscriptions back again.

What says this leaden casket?

“Who chooseth me must give and hazard all he hath.”

Must give—for what? For lead? Hazard for lead?

This casket threatens. Men that hazard all

Do it in hope of fair advantages.

A golden mind stoops not to shows of dross.

I’ll then nor give nor hazard aught for lead.

What says the silver with her virgin hue?

“Who chooseth me shall get as much as he deserves.”

“As much as he deserves!”—pause there, Morocco,

And weigh thy value with an even hand.

If thou beest rated by thy estimation,

Thou dost deserve enough, and yet enough

May not extend so far as to the lady,

And yet to be afeard of my deserving

Were but a weak disabling of myself.

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 strayed 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.

The Hyrcanian deserts and the vasty wilds

Of wide Arabia are as thoroughfares now

For princes to come view fair Portia.

The watery kingdom, whose ambitious head

Spits in the face of heaven, is no bar

To stop the foreign spirits, but they come

As o’er a brook to see fair Portia.

One of these three contains her heavenly picture.

Is ’t like that lead contains her? ’Twere damnation

To think so base a thought. It were too gross

To rib her cerecloth in the obscure 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 insculped upon.

But here an angel in a golden bed

MOROCCO

I wish some god could help me choose! Let me see. I’ll look over the inscriptions again. What does the lead box say? “He who chooses me must give and risk all he has.” Must give everything—for what? For lead? Risk everything for lead? This box is too threatening. Men who risk everything hope to make profits. A golden mind doesn’t bend down to choose something worthless. So I won’t give or risk anything for lead. What does the silver one say? “He who chooses me will get as much as he deserves.” As much as he deserves—wait a minute there, Morocco, and consider your own value with a level head. If your reputation is trustworthy, you deserve a lot—though maybe not enough to include this lady. But fearing I don’t deserve her is a way of underestimating myself. As much as I deserve—I deserve Portia! By birth I deserve her. In terms of wealth, talents, and upbringing, and especially love, I deserve her. What if I went no further and chose this one? But let’s see once more what the gold one says: “He who chooses me will get what many men want.” That’s Portia! The whole world wants her. They come from the four corners of the earth to kiss this shrine and see this living, breathing saint. Princes travel across deserts and the vast wilderness of Arabia to come see the beautiful Portia. The wide ocean doesn’t prevent them from coming to see her—they travel across it as if it were a little stream. One of these three boxes contains her lovely picture. Could the lead one contain it? No, it’d be a sin to think such a low thought. Lead’s too crass to hold her. Is she enclosed in silver, which is ten times less valuable than gold? Oh, what a sinful thought! Nobody ever set a gem like her in a worse setting than gold. They have a coin in England stamped with the figure of an angel, but that’s just engraved on the surface.

Lies all within.—Deliver me the key.

Here do I choose, and thrive I as I may!

Here an angel’s lying in a golden bed.—Give me the key. I will choose this one and try my chances.

PORTIA

(giving MOROCCO a key)

There, take it, Prince. And if my form lie there

Then I am yours.

PORTIA

(she hands him a key) There, take it, prince. And if my picture’s in there, then I’m yours.

MOROCCO opens the golden casket

MOROCCO opens the gold casket.

MOROCCO

O hell, 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,

Young in limbs, in judgment old,

Your answer had not been inscrolled.

Fare you well. Your suit is cold—

Cold, indeed, and labor lost.”

Then, farewell, heat, and welcome, frost!

Portia, adieu. I have too grieved a heart

To take a tedious leave. Thus losers part.

MOROCCO

Damn it! What’s this? It’s a skull with a scroll in its empty eye socket. I’ll read it aloud.

(he reads)

“All that glitters is not gold—

You’ve often heard that said.

Many men have sold their souls

Just to view my shiny surface.

But gilded tombs contain worms.

If you’d been as wise as you were bold,

With an old man’s mature judgment,

You wouldn’t have had to read this scroll.

So goodbye—you lost your chance.”

Lost my chance indeed! So goodbye hope, and hello despair. Portia, goodbye to you. My heart’s too sad for long goodbyes. Losers always leave quickly.

Exit MOROCCO with his train

MOROCCO exits with his entourage.

PORTIA

A gentle riddance.—Draw the curtains, go.—

Let all of his complexion choose me so.

PORTIA

Good riddance!—Close the curtains and leave.—I hope everyone who looks like him will make the same choice.

Exeunt

They exit.

Act 2, Scene 8

Enter SALARINO and SOLANIO

SALARINO and SOLANIO enter

SALARINO

Why, man, I saw Bassanio under sail.

With him is Gratiano gone along.

And in their ship I am sure Lorenzo is not.

SALARINO

I saw Bassanio sail away, and Gratiano went with him. I’m sure Lorenzo isn’t on their ship.

SOLANIO

The villain Jew with outcries raised the Duke,

Who went with him to search Bassanio’s ship.

SOLANIO

That wicked Jew got the duke to listen to his complaints. The duke 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

They were not with Bassanio in his ship.

SALARINO

He got there too late. The ship was already sailing. But once he got there, the duke learned that Lorenzo and his lover Jessica were together in a gondola. In any case, Antonio assured the duke they weren’t with Bassanio on his ship.

SOLANIO

I never heard a passion so confused,

So strange, outrageous, and so variable,

As the dog Jew did utter in the streets.

“My daughter! O my ducats! O my daughter,

Fled with a Christian! O my Christian ducats!

Justice, the law, my ducats, and my daughter!

A sealèd bag, two sealèd bags of ducats,

Of double ducats, stol’n from me by my daughter!

And jewels—two stones, two rich and precious stones—

Stol’n by my daughter! Justice, find the girl!

She hath the stones upon her, and the ducats.”

SOLANIO

I’ve never heard such confused emotions as what that Jew dog was shouting in the streets. “My daughter, oh my ducats, oh my daughter! Ran off with a Christian! Oh 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—stolen by my daughter! Justice, find the girl! She has the stones on her, and the ducats.”

SALARINO

Why, all the boys in Venice follow him,

Crying, “His stones, his daughter, and his ducats!”

SALARINO

I know, all the boys in Venice are following him, yelling, “His stones, his daughter, and his ducats!”

SOLANIO

Let good Antonio look he keep his day,

Or he shall pay for this.

SOLANIO

I hope Antonio repays his loan on time, or he’ll suffer for this.

SALARINO

Marry, well remembered.

I reasoned 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.

I thought upon Antonio when he told me,

And wished in silence that it were not his.

SALARINO

That’s a good point. I spoke with a Frenchman yesterday who said that a Venetian ship loaded with treasure was wrecked in the English Channel. I thought about Antonio when he told me. I silently hoped it wasn’t his ship.

SOLANIO

You were best to tell Antonio what you hear—

Yet do not suddenly, for it may grieve him.

SOLANIO

You should tell Antonio what you hear—but don’t do it suddenly, because it might upset him.

SALARINO

A kinder gentleman treads not the earth.

I saw Bassanio and Antonio part.

Bassanio told him he would make some speed

Of his return. He answered, “Do not so.

Slubber not business for my sake, Bassanio

But stay the very riping of the time.

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.

SALARINO

There’s no nicer guy in the whole world. I saw Bassanio and Antonio say goodbye. Bassanio told him he’d try to hurry back. Antonio answered “Don’t rush. Don’t do a sloppy job for my sake, Bassanio. Stay until everything is finished. As for the Jew’s contract, don’t let it be a factor in your plans. Be happy and concentrate your thoughts on love and how to win your love.” Then his eyes started tearing up. He turned his face away. Then he shook Bassanio’s hand affectionately—and they separated.

SOLANIO

I think he only loves the world for him.

I pray thee, let us go and find him out

And quicken his embracèd heaviness

With some delight or other.

SOLANIO

I think he only loves life because of Bassanio. Let’s go find him and cheer him up.

SALARINO

Do we so.

SALARINO

Yes, let’s do that.

Exeunt

They exit.

Act 2, Scene 9

Enter NERISSA and a servitor

NERISSA and a servant enter.

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.

NERISSA

Hurry, hurry, close the curtain quick. The prince of Arragon has taken his oath, and he’s coming to make his choice now.

Flourish cornets Enter the Prince of ARRAGON, his train, and PORTIA

Trumpets play. The Prince of ARRAGON, his entourage, and PORTIA enter.

PORTIA

Behold, there stand the caskets, noble Prince.

If you choose that wherein I am contained,

Straight shall our nuptial rites be solemnized.

But if you fail, without more speech, my lord,

You must be gone from hence immediately.

PORTIA

Look, here are the boxes, prince. If you choose the one that contains my picture, we’ll be married right away. But if you fail, you have to leave immediately. No pleas will be allowed.

ARRAGON

I am enjoined by oath to observe three things:

First, never to unfold to any one

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.

ARRAGON

I swore I’d do three things. First, I can never tell anyone what box I choose. Second, if I choose the wrong box, I’ll never propose marriage for the rest of my life. Third, if I pick the wrong box, I’ll leave immediately.

PORTIA

To these injunctions every one doth swear

That comes to hazard for my worthless self.

PORTIA

Everyone who comes to gamble on winning me has to swear to these three rules.

ARRAGON

And so have I addressed me. Fortune now

To my heart’s hope! Gold, silver, and base lead.

“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.

“Who chooseth me shall gain what many men desire.”

“What many men desire”—that “many” may be meant

By the fool multitude that choose by show,

Not learning more than the fond eye doth teach;

Which pries not to th’ interior, but like the martlet

Builds in the weather on the outward wall,

Even in the force and road of casualty.

I will not choose what many men desire

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 deserves.”

And well said too—for who shall go about

To cozen fortune and be honorable

Without the stamp of merit? Let none presume

To wear an undeservèd dignity.

Oh, that estates, degrees and offices

Were not derived corruptly, and that clear honor

Were purchased by the merit of the wearer!

How many then should cover that stand bare!

How many be commanded that command!

How much low peasantry would then be gleaned

From the true seed of honor! And how much honor

Picked from the chaff and ruin of the times

To be new varnished! Well, but to my choice.

“Who chooseth me shall get as much as he deserves.”

I will assume desert.—Give me a key for this,

And instantly unlock my fortunes here.

ARRAGON

Okay, I’m ready. I hope luck will give me what my heart hopes for! Gold, silver, and common lead. “He who chooses me must give and risk all he has.” You’d have to be more attractive for me to give or risk anything for you. What does the golden box say? Hmm, let me see: “He who chooses me will get what many men want.” What many men want—that “many” could mean that most people are fools and choose by whatever is flashy. They don’t go beyond what their eyes see. They don’t bother to find out what’s on the inside. Just like those birds called martins who build their nests on the outside of walls, people pay too much attention to what’s on the outside. So I won’t choose what many men desire, because I won’t jump on the bandwagon and include myself with the whole crude population. So I guess it’s you, you silver treasure house. Tell me once more what you say. “He who chooses me will get what he deserves.” That’s nicely put—because who’s going to cheat luck and get more than he deserves? No one should have an honor he doesn’t deserve. Oh, wouldn’t it be great if property, rank, official positions, and other honors were earned only by merit, not by corruption? There wouldn’t be too many important men then. How many people who are humble now would be great then? How many people who give orders now would have to take orders? How many noblemen would be weeded out and would become peasants? And how many common people would suddenly shine with nobility? Well, let me get back to my choice. “He who chooses me will get what he deserves.” I’ll assume I deserve the very best.—Give me a key for this one. I’ll unlock my fate here in a second.

ARRAGON opens the silver casket

ARRAGON opens the silver casket.

PORTIA

Too long a pause for that which you find there.

PORTIA

You thought about it too long, considering what you found 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!

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?

ARRAGON

What’s this? A picture of an idiot holding a scroll up for me to read! I’ll read it.—It looks so unlike Portia! This outcome isn’t what I hoped for, or what I deserve. “The one who chooses me will get what he deserves”! Didn’t I deserve anything more than a fool’s head? Is this my prize? Don’t I deserve more than this?

PORTIA

To offend and judge are distinct offices

And of opposèd natures.

PORTIA

Judging what you deserve is one thing. Offending you is something very different, so I’ll keep my mouth shut.

ARRAGON

What is here?

(reads)

“The fire seven times tried this,

Seven times tried that judgment is,

That did never choose amiss.

Some there be that shadows kiss.

Such have but a shadow’s bliss.

There be fools alive, iwis,

Silvered o’er—and so was this.

Take what wife you will to bed,

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.“

ARRAGON

What does this say?

(he reads)

”This box was tested in the fire seven times.

The person who never makes a wrong choice

Has wisdom that will stand the test.

Some people kiss shadows.

They only feel the shadow of joy.

There are fools out there

With silver hair and silver coins.

This choice was as foolish as they are.

Take whatever wife you want to bed with you,

You’ll have a fool’s head forever.

So go away. You’re done here."

The longer I stay, the more foolish I look. I came here with a fool’s head on my shoulders and now I’m leaving with two.—Goodbye, sweet lady. I’ll keep my oath and patiently suffer through my anger.

Exeunt ARRAGON and his train

He exits with his train.

PORTIA

Thus hath the candle singed the moth.

O these deliberate fools! When they do choose,

They have the wisdom by their wit to lose.

PORTIA

These men are like moths, drawn to these boxes as if they were flames. This is how the candle burned the moth. Oh, these fools! When they choose, they only know how to lose.

NERISSA

The ancient saying is no heresy.

Hanging and wiving goes by destiny.

NERISSA

You know what they say. Destiny chooses when you’ll die and who you’ll marry.

PORTIA

Come, draw the curtain, Nerissa.

PORTIA

Come on, close the curtain, Nerissa.

Enter MESSENGER

A MESSENGER enters.

messenger

Where is my lady?

messenger

Where’s lady Portia?

PORTIA

Here. What would my lord?

PORTIA

Here. How can I help you, sir?

MESSENGER

Madam, there is alighted at your gate

A young Venetian, one that comes before

To signify th’ approaching of his lord,

From whom he bringeth sensible regreets,

To wit—besides commends and courteous breath—

Gifts of rich value. Yet I have not seen

So likely an ambassador of love.

A day in April never came so sweet

To show how costly summer was at hand,

As this forespurrer comes before his lord.

MESSENGER

Madam, a young Venetian man has arrived to tell us his master is about to arrive. This lord has sent gifts. Besides his nice polite greetings, his gifts are expensive. I haven’t seen such a promising candidate for your love. This servant has arrived before his master the way a sweet spring day hints about a lush summer. But there’s never been an April day as promising as this.

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.

PORTIA

Please don’t tell me any more. I’m almost afraid you’re going to tell me he’s a relative of yours, because you’re going so crazy praising him. Come on, Nerissa, I want to go see this man who’s come so courteously.

NERISSA

Bassanio, Lord Love, if thy will it be!

NERISSA

I hope it’s Bassanio coming to win Portia!

Exeunt

They exit.

Act 3, Scene 1

Enter SOLANIO and SALARINO

SOLANIO and SALARINO enter

SOLANIO

Now, what news on the Rialto?

SOLANIO

So, what’s the news on the Rialto?

SALARINO

Why, yet it lives there unchecked that Antonio hath a ship of rich lading wracked on the narrow seas. The Goodwins I think they call the place—a very dangerous flat, and fatal, where the carcasses of many a tall ship lie buried, as they say, if my gossip report be an honest woman of her word.

SALARINO

Well, there’s a rumor that Antonio had a ship carrying expensive cargo that shipwrecked in the English Channel on the Goodwin Sands, a very dangerous sandbar. Many ships have sunk there, according to rumors.

SOLANIO

I would she were as lying a gossip in that as ever knapped ginger or made her neighbors 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—oh, that I had a title good enough to keep his name company!—

SOLANIO

I hope this new rumor is a lie, like the gossiping widow’s claim that she was sorry her third husband died! But it’s true—I don’t want to get all mushy and go on and on, but the good Antonio, the honest Antonio—oh, if I only had a title good enough to match his!—

SALARINO

Come, the full stop.

SALARINO

Come on, get to the point.

SOLANIO

Ha, what sayest thou? Why, the end is he hath lost a ship.

SOLANIO

What are you saying? Well, the point is, he’s lost a ship.

SALARINO

I would it might prove the end of his losses.

SALARINO

I hope that’s all he loses.

SOLANIO

Let me say “Amen” betimes, lest the devil cross my prayer, for here he comes in the likeness of a Jew.

SOLANIO

Let me say “amen” quickly, before the devil comes in and stops my prayer—because here comes the devil, disguised as a Jew.

Enter SHYLOCK

SHYLOCK enters.

How now, Shylock? What news among the merchants?

How’s it going, Shylock? What’s the news among the merchants?

SHYLOCK

You knew—none so well, none so well as you—of my daughter’s flight.

SHYLOCK

You knew—no one knew, no one knew as well as you did—about my daughter’s plans to run away.

SALARINO

That’s certain. I, for my part, knew the tailor that made the wings she flew withal.

SALARINO

That’s true. I even knew the tailor who made the disguise she wore when she ran off.

SOLANIO

And Shylock, for his own part, knew the bird was fledged, and then it is the complexion of them all to leave the dam.

SOLANIO

And Shylock knew his daughter was ready to run away. It’s natural for children to leave their parents.

SHYLOCK

She is damned for it.

SHYLOCK

She’ll be damned for it.

SOLANIO

That’s certain—if the devil may be her judge.

SOLANIO

That’s true—if the devil’s judging her.

SHYLOCK

My own flesh and blood to rebel!

SHYLOCK

My own flesh and blood turned against me! A rebel!

SOLANIO

Out upon it, old carrion! Rebels it at these years?

SOLANIO

No! Your flesh still rebels at your age?

SHYLOCK

I say my daughter is my flesh and blood.

SHYLOCK

I mean my daughter is my flesh and blood.

SALARINO

There is more difference between thy 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?

SALARINO

You two are totally different. Your flesh is more different from hers than coal is from ivory. There’s more difference between your bloods than between red wine and white. But tell us, did you hear anything about Antonio’s loss at sea?

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 look to his bond. He was wont to lend money for a Christian courtesy; let him look to his bond.

SHYLOCK

That’s another bad deal I’ve made!—a bankrupt, a spendthrift, who now has to hide his head on the Rialto, a beggar who used to look so smug in front of the other merchants. Let him think about his own debt. He liked to call me a loan shark; let him think about his debt to me. He used to lend money as a favor between Christians; but now, let him think about his own debt.

SALARINO

Why, I am sure, if he forfeit thou wilt not take his flesh.

What’s that good for?

SALARINO

But you won’t take his flesh if he can’t pay. 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 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 is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villainy you teach me I will execute—and it shall go hard but I will better the instruction.

SHYLOCK

I’ll use it for fish bait. You can’t eat human flesh, but if it feeds nothing else, it’ll feed my revenge. He’s insulted me and cost me half a million ducats. He’s laughed at my losses, made fun of my earnings, humiliated my race, thwarted my deals, turned my friends against me, riled up my enemies—and why? Because I’m a Jew. Doesn’t a Jew have eyes? Doesn’t a Jew have hands, bodily organs, a human shape, five senses, feelings, and passions? Doesn’t a Jew eat the same food, get hurt with the same weapons, get sick with the same diseases, get healed by the same medicine, and warm up in summer and cool off in winter just like a Christian? If you prick us with a pin, don’t we bleed? If you tickle us, don’t we laugh? If you poison us, don’t we die? And if you treat us badly, won’t we try to get revenge? If we’re like you in everything else, we’ll resemble you in that respect. If a Jew offends a Christian, what’s the Christian’s kind and gentle reaction? Revenge. If a Christian offends a Jew, what punishment will he come up with if he follows the Christian example? Of course, the same thing—revenge! I’ll treat you as badly as you Christians taught me to—and you’ll be lucky if I don’t outdo my teachers.

Enter a MAN from ANTONIO

One of ANTONIO’s SERVANTS enters.

MAN

(to SOLANIO and SALARINO) Gentlemen, my master Antonio is at his house and desires to speak with you both.

MAN

(to SOLANIO and SALARINO) My master Antonio is at his house and would like to speak to you both.

SALARINO

We have been up and down to seek him.

SALARINO

We’ve been looking for him everywhere.

Enter TUBAL

TUBAL enters.

SOLANIO

Here comes another of the tribe. A third cannot be matched unless the devil himself turn Jew.

SOLANIO

Here comes another Jew. You couldn’t find a third like these two unless the devil himself turned into a Jew.

Exeunt SOLANIO, SALARINO, and MAN

SOLANIO, SALARINO, and ANTONIO’s SERVANT exit.

SHYLOCK

How now, Tubal? What news from Genoa? Hast thou found my daughter?

SHYLOCK

Hello, Tubal. Any news from Genoa? Did you find my daughter?

TUBAL

I often came where I did hear of her, but cannot find her.

TUBAL

I went to many places where I heard news about her, but I couldn’t find her.

SHYLOCK

Why, there, there, there, there! A diamond gone cost me two thousand ducats in Frankfurt—the curse never fell upon our nation till now! I never felt it till now—Two thousand ducats in that, and other precious, precious jewels. I would my daughter were dead at my foot and the jewels in her ear! Would she were hearsed at my foot and the ducats in her coffin! No news of them? Why, so. And I know not what’s spent in the search. Why thou, loss upon loss! The thief gone with so much, and so much to find the thief—and no satisfaction, no revenge. Nor no ill luck stirring but what lights o’ my shoulders, no sighs but o’ my breathing, no tears but o’ my shedding.

SHYLOCK

Oh, oh, oh! One of the stolen diamonds cost me two thousand ducats in Frankfurt! I never felt the curse of the Jews until now. I never felt it until now—two thousand ducats in that diamond, and other precious, precious jewels! I wish my daughter were dead at my feet wearing those jewels! I wish she were in her coffin here, with the ducats in her coffin! You couldn’t find out anything about them? Why? I don’t even know how much I’m spending to find them. Loss upon loss! The thief left with so much, and I’m spending so much to hunt down the thief—and still I’m not satisfied! I haven’t gotten my revenge. The only luck I have is bad luck. Nobody suffers but me. Nobody’s crying except me.

TUBAL

Yes, other men have ill luck too. Antonio, as I heard in

Genoa—

TUBAL

Well, other men have bad luck too. Antonio, as I heard in Genoa—

SHYLOCK

What, what, what? Ill luck, ill luck?

SHYLOCK

What, what, what? Bad luck, bad luck?

TUBAL

Hath an argosy cast away coming from Tripolis.

TUBAL

He’s had a ship wrecked coming from Tripolis.

SHYLOCK

I thank God, I thank God! Is ’t true, is ’t true?

SHYLOCK

Thank God, thank God! Is it true, is it true?

TUBAL

I spoke with some of the sailors that escaped the wrack.

TUBAL

I spoke with some of the sailors who survived the wreck.

SHYLOCK

I thank thee, good Tubal. Good news, good news! Ha, ha, heard in Genoa.

SHYLOCK

Thank you, Tubal. Good news, good news! Ha, ha, heard in Genoa.

TUBAL

Your daughter spent in Genoa, as I heard, in one night fourscore ducats.

TUBAL

I also heard that your daughter spent eighty ducats in Genoa one night.

SHYLOCK

Thou stickest a dagger in me. I shall never see my gold again. Fourscore ducats at a sitting! Fourscore ducats!

SHYLOCK

Oh, you’re sticking a dagger in me! I’ll never see my gold again. Eighty ducats in one shot! Eighty ducats!

TUBAL

There came divers of Antonio’s creditors in my company to Venice that swear he cannot choose but break.

TUBAL

I came to Venice with a number of Antonio’s creditors who say he won’t be able to avoid going bankrupt.

SHYLOCK

I am very glad of it. I’ll plague him. I’ll torture him. I am glad of it.

SHYLOCK

I’m very glad about that. I’ll hound him. I’ll torture him. I’m very glad.

TUBAL

One of them showed me a ring that he had of your daughter for a monkey.

TUBAL

One creditor showed me a ring he got from your daughter in exchange for a monkey.

SHYLOCK

Out upon her! 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.

SHYLOCK

Damn her! You’re torturing me, Tubal. That was my turquoise ring! Leah gave it to me before we were married. I wouldn’t have given it away for a whole jungle of monkeys.

TUBAL

But Antonio is certainly undone.

TUBAL

But Antonio’s certainly ruined.

SHYLOCK

Nay, that’s true, that’s very true. Go, Tubal, fee me an officer. Bespeak him a fortnight before.—I will have the heart of him if he forfeit, for were he out of Venice I can make what merchandise I will.—Go, go, Tubal, and meet me at our synagogue. Go, good Tubal. At our synagogue, Tubal.

SHYLOCK

That’s true, that’s very true. Tubal, go find me a police officer to arrest Antonio. Get him ready two weeks ahead of time.—I’ll take Antonio’s heart if he can’t pay. With him out of Venice, I can make whatever bargains I want when I lend money.—Go, Tubal. Meet me at the synagogue.

Exeunt severally

They exit.

Act 3, Scene 2

Enter BASSANIO, PORTIA, GRATIANO, NERISSA, and all their trains, including a SINGER

BASSANIO, PORTIA, GRATIANO, and NERISSA enter with all their attendants, including a SINGER.

PORTIA

(to BASSANIO) I pray you, tarry. Pause a day or two

Before you hazard, for in choosing wrong

I lose your company. Therefore forbear awhile.

There’s something tells me—but it is not love—

I would not lose you, and you know yourself

Hate counsels not in such a quality.

But lest you should not understand me well—

And yet a maiden hath no tongue but thought—

I would detain you here some month or two

Before you venture for me. I could teach you

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’erlooked 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. Oh, these naughty times

Put bars between the owners and their rights!

And so, though yours, not yours. Prove it so.

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.

PORTIA

(to BASSANIO) Please wait a day or two before making your choice. If you choose wrong, I’ll lose your company. So wait a while. Something tells me—not love, but something—that I don’t want to lose you, and you know that if I hated you I wouldn’t think that. But let me put it more clearly in case you don’t understand—though I know girls aren’t supposed to express their thoughts—I’m just saying I’d like you to stay here for a month or two before you undergo the test for me. I could tell you how to choose correctly, but then I’d be disregarding the oath I took. So I’ll never tell. But you might lose me by making the wrong choice. If you do choose wrong, you’ll make me wish for something very bad. I’d wish I had ignored my oath and told you everything. God, your eyes have bewitched me. They’ve divided me in two. One half of me is yours, and the other half—my own half, I’d call it—belongs to you too. If it’s mine, then it’s yours, and so I’m all yours. But in this awful day and age people don’t even have the right to their own property! So though I’m yours, I’m not yours. If there’s no chance for me to be yours, then it’s just bad luck. I know I’m talking too much, but I do that just to make the time last longer, and to postpone your test.

BASSANIO

Let me choose,

For as I am, I live upon the rack.

BASSANIO

Let me choose now. I feel tortured by all this talking.

PORTIA

Upon the rack, Bassanio? Then confess

What treason there is mingled with your love.

PORTIA

Tortured, Bassanio? Then confess to your crime. Tell us about the treason you’ve mixed in with your love.

BASSANIO

None but that ugly treason of mistrust

Which makes me fear th’ enjoying of my love.

There may as well be amity and life

’Tween snow and fire, as treason and my love.

BASSANIO

The only treason I’m guilty of is worrying that I’m never going to get to enjoy you. Treason has nothing at all to do with my love. They’re as opposite as hot and cold.

PORTIA

Ay, but I fear you speak upon the rack

Where men enforcèd do speak anything.

PORTIA

Hmmm, I’m not sure I believe what you’re saying. Men under torture will confess anything.

BASSANIO

Promise me life, and I’ll confess the truth.

BASSANIO

Promise me you’ll let me live, and I’ll confess the truth.

PORTIA

Well then, confess and live.

PORTIA

All right then, confess and live.

BASSANIO

“Confess and love”

Had been the very sum of my confession.

O happy torment, when my torturer

Doth teach me answers for deliverance!

But let me to my fortune and the caskets.

BASSANIO

“Confess and love” is more like it. Oh, torture’s fun when my torturer tells me what I have to say to go free! But let me try my luck on the boxes.

PORTIA

Away, then. I am locked in one of them.

If you do love me you will find me out.—

Nerissa and the rest, stand all aloof.

Let music sound while he doth make his choice.

Then if he lose he makes a swanlike end,

Fading in music. That the comparison

May stand more proper, my eye shall be the stream

And watery deathbed for him. He may win,

And what is music then? Then music is

Even as the flourish when true subjects bow

To a new-crownèd monarch. Such it is

As are those dulcet sounds in break of day

That creep into the dreaming bridegroom’s ear

And summon him to marriage.

Now he goes

With no less presence but with much more love

Than young Alcides, when he did redeem

The virgin tribute paid by howling Troy

To the sea monster. I stand for sacrifice.

The rest aloof are the Dardanian wives,

With blearèd visages come forth to view

The issue of th’ exploit.—Go, Hercules!

Live thou, I live. With much, much more dismay

I view the fight than thou that makest the fray.

PORTIA

Go ahead, then. I’m locked in one of them. If you really love me, you’ll find me.—Nerissa and the rest of you, get away from him. Play some music while he chooses. Then if he loses, it’ll be his swan song, music before the end. And since swans need water to swim in, I’ll cry him a river when he loses. But on the other hand, he may win. What music should we play then? If he wins, the music should be like the majestic trumpets that blare when subjects bow to a newly crowned monarch. It’s the sweet sounds at daybreak that the dreaming bridegroom hears on his wedding morning, calling him to the church. Bassanio’s walking to the boxes now. He looks as dignified as Hercules did when he saved the princess Hesione from the sea monster. But he loves me more than Hercules loved the princess. I’ll play Hesione, and everyone else will be the bystanders watching with tear-streaked faces. We’ve all come out to see what will happen.—Go, Hercules! If you survive, I’ll live. I’m more anxious watching you fight than you are in the fight itself.

A song, the whilst BASSANIO comments on the caskets to himself

A song plays while BASSANIO mulls over the boxes.

SINGER

(sings)

Tell me where is fancy bred.

Or in the heart or in the head?

How begot, how nourishèd?

SINGER

(singing)

Tell me where do our desires start,

In the heart or in the head?

How are they created, how sustained?

ALL

Reply, reply.

ALL

Answer me, answer me.

SINGER

(sings)

It is engendered in the eyes,

With gazing fed, and fancy dies

In the cradle where it lies.

Let us all ring fancy’s knell

I’ll begin it.—Ding, dong, bell.

SINGER

(singing)

Desires start in the eyes,

Sustained by gazing, and desires die

Very young.

Let’s all mourn our dead desires.

I’ll begin—Ding, dong, bell.

ALL

Ding, dong, bell.

ALL

Ding, dong, bell.

BASSANIO

So may the outward shows be least themselves.

The world is still deceived with ornament.

In law, what plea so tainted and corrupt

But, being seasoned with a gracious voice,

Obscures the show of evil? In religion,

What damnèd error, but some sober brow

Will bless it and approve it with a text,

Hiding the grossness with fair ornament?

There is no vice so simple but assumes

Some mark of virtue on his outward parts.

How many cowards whose hearts are all as false

As stairs of sand wear yet upon their chins

The beards of Hercules and frowning Mars,

Who, inward searched, have livers white as milk,

And these assume but valor’s excrement

To render them redoubted. Look on beauty,

And you shall see ’tis purchased by the weight,

Which therein works a miracle in nature,

Making them lightest that wear most of it.

So are those crispèd snaky golden locks

Which maketh such wanton gambols with the wind,

Upon supposèd fairness, often known

To be the dowry of a second head,

The skull that bred them in the sepulcher.

Thus ornament is but the guilèd shore

To a most dangerous sea, the beauteous scarf

Veiling an Indian beauty—in a word,

The seeming truth which cunning times put on

To entrap the wisest. Therefore then, thou gaudy gold,

Hard food for Midas, I will none of thee.

Nor none of thee, thou pale and common drudge

’Tween man and man. But thou, thou meagre lead,

Which rather threaten’st than dost promise aught,

Thy paleness moves me more than eloquence,

And here choose I. Joy be the consequence!

BASSANIO

You can’t always judge a book by its cover. People are often tricked by false appearances. In court, someone can deliver a false plea but hide its wickedness with a pretty voice. In religion, don’t serious men defend sins with Scripture, covering up evil with a show of good. Every sin in the world manages to make itself look good somehow. How many people are cowards at heart but wear beards like Hercules or Mars, the god of war? Take another example: beauty. It can be bought by the ounce in makeup, which works miracles. Women who wear it the most are respected the least. It’s the same thing with hair. Curly golden hair moves so nicely in the wind and makes a woman beautiful. But you can buy that kind of hair as a wig, and wigs are made from dead people’s hair. Decoration’s nothing but a danger, meant to trick and trap the viewer. A lovely, cunning shore can distract a man from the perils of a stormy sea, just as a pretty scarf can hide a dangerous dark-skinned beauty. Nowadays, everyone’s fooled by appearances. So I’ll have nothing to do with that gaudy gold box—it’s like the gold that Midas couldn’t eat. And I’ll have nothing to do with the pale silver either, the metal that common coins are made of. But this humble lead one, though it looks too threatening to promise me anything good, moves me more than I can say. So this is the one I choose. I hope I’m happy with my choice!

PORTIA

(aside) How all the other passions fleet to air,

As doubtful thoughts, and rash-embraced despair,

And shuddering fear, and green-eyed jealousy!

O love, be moderate. Allay thy ecstasy.

In measure rein thy joy. Scant this excess.

I feel too much thy blessing. Make it less,

For fear I surfeit.

PORTIA

(to herself) All my other emotions are vanishing into thin air, as all my doubts and desperation and fears and jealousy are all flying away! Oh, I need to calm down, make my love and my joy less intense. I’m feeling this too strongly. Please make my love less, or I’m going to overindulge, making myself sick.

BASSANIO

(opening the lead casket)

What find I here?

Fair Portia’s counterfeit! What demigod

Hath come so near creation? Move these eyes?

Or whether, riding on the balls of mine,

Seem they in motion? Here are severed lips,

Parted with sugar breath. So sweet a bar

Should sunder such sweet friends. Here in her hairs,

The painter plays the spider and hath woven

A golden mesh t’ entrap the hearts of men

Faster than gnats in cobwebs. But her eyes—

How could he see to do them? Having made one,

Methinks it should have power to steal both his

And leave itself unfurnished. Yet look how far

The substance of my praise doth wrong this shadow

In underprizing it, so far this shadow

Doth limp behind the substance. Here’s the scroll,

The continent and summary of my fortune.

(reads)

“You that choose not by the view,

Chance as fair and choose as true.

Since this fortune falls to you,

Be content and seek no new.

If you be well pleased with this

And hold your fortune for your bliss,

Turn you where your lady is

And claim her with a loving kiss.”

BASSANIO

(opening the lead box) What do we have here? A picture of beautiful Portia! What artist captured her likeness so well? Are these eyes moving? Or do they just seem to move as my eyes move? Her sweet breath forces her lips open, a lovely divider of lovely lips. And look at her hair, looking like a golden mesh to trap the hearts of men, like little flies in a cobweb. The painter was like a spider in creating it so delicately. But her eyes—how could he keep looking at them long enough to paint them? I would’ve expected that when he finished one of them, it would have enraptured him and kept him from painting the other. But I’m giving only faint praise of the picture, just as the picture, as good as it is, is only a faint imitation of the real woman herself. Here’s the scroll that sums up my fate:

(he reads)

“You who don’t judge by looks alone,

Have better luck, and make the right choice.

Since this prize is yours,

Be happy with it, and don’t look for a new one.

If you’re happy with what you’ve won

And accept this prize as your blissful destiny,

Then turn to where your lady is,

And claim her with a loving kiss.”

A gentle scroll. Fair lady, by your leave,

I come by note to give and to receive.

Like one of two contending in a prize

That thinks he hath done well in people’s eyes,

Hearing applause and universal shout,

Giddy in spirit, still gazing in a doubt

Whether these pearls of praise be his or no—

So, thrice fair lady, stand I even so,

As doubtful whether what I see be true

Until confirmed, signed, ratified by you.

A nice message. My lady, with your permission, this note authorizes me to give myself to you with a kiss. But I’m in a daze, like someone who’s just won a contest and thinks that all the applause and cheering is for him, but isn’t sure yet. And so, beautiful lady, I’m standing here just like that, wondering whether all this can be true until you tell me it is.

PORTIA

You see me, Lord Bassanio, where I stand

Such as I am. Though for myself alone

I would not be ambitious in my wish

To wish myself much better, yet for you

I would be trebled twenty times myself—

A thousand times more fair, ten thousand times more rich—

That only to stand high in your account

I might in virtue, beauties, livings, friends

Exceed account. But the full sum of me

Is sum of something which, to term in gross,

Is an unlessoned girl, unschooled, unpracticèd;

Happy in this—she is not yet so old

But she may learn. Happier than this—

She is not bred so dull but she can learn.

Happiest of all is that her gentle spirit

Commits itself to yours to be directed

As from her lord, her governor, her king.

Myself and what is mine to you and yours

Is now converted. But now I was the lord

Of this fair mansion, master of my servants,

Queen o’er myself. And even now, but now,

This house, these servants, and this same myself

Are yours, my lord’s. I give them with this ring,

Which when you part from, lose, or give away,

Let it presage the ruin of your love

And be my vantage to exclaim on you.

(gives BASSANIO a ring)

PORTIA

You see me standing here, Lord Bassanio. What you see is what you get. Though I wouldn’t wish to be better for my own sake, for your sake I wish I were twenty times more than myself—a thousand times more beautiful and ten thousand times richer—just so you might value me more, so my good qualities, beauty, possessions, and friends would be more than you could calculate. What you’re getting is an innocent and inexperienced girl. I’m happy that at least I’m not too old to learn new things. I’m even happier that I’m not stupid, and I can learn. I’m happiest of all that I’m yours now, my lord, my king, and you can guide me as you wish. Everything I am and everything I have now belongs to you. Just a minute ago I was the owner of this beautiful mansion, master of these servants, and queen over myself. But as of right this second all these things are yours. With this ring I give them all to you. If you ever give away this ring or lose it, it means our love’s doomed, and I’ll have a right to be angry with you. (she gives BASSANIO the ring)

BASSANIO

Madam, you have bereft me of all words.

Only my blood speaks to you in my veins.

And there is such confusion in my powers

As after some oration fairly spoke

By a belovèd prince there doth appear

Among the buzzing pleasèd multitude,

Where every something, being blent together,

Turns to a wild of nothing, save of joy,

Expressed and not expressed. But when this ring

Parts from this finger, then parts life from hence.

O, then be bold to say Bassanio’s dead!

BASSANIO

Madam, you’ve left me speechless, but my feelings are responding to your words. I’m as confused as a crowd of people going wild after hearing their prince give a speech. But the day I take this ring off will be the day I die. If you see me without it, you can be confident I’m dead.

NERISSA

My lord and lady, it is now our time,

That have stood by and seen our wishes prosper,

To cry, “Good joy, good joy, my lord and lady!”

NERISSA

My lord and lady, it’s now our turn, who have been watching as our dreams came true. Now we can shout, “Congratulations, congratulations, my lord and lady!”

GRATIANO

My Lord Bassanio and my gentle lady,

I wish you all the joy that you can wish,

For I am sure you can wish none from me.

And when your honors mean to solemnize

The bargain of your faith, I do beseech you

Even at that time I may be married too.

GRATIANO

My Lord Bassanio, and my dear lady, I wish you all the joy I can wish for. And when you get married, I hope I can be married at the same time.

BASSANIO

With all my heart, so thou canst get a wife.

BASSANIO

Absolutely, if you can find a wife by then.

GRATIANO

I thank your lordship, you have got me one.

My eyes, my lord, can look as swift as yours.

You saw the mistress, I beheld the maid.

You loved, I loved. For intermission

No more pertains to me, my lord, than you.

Your fortune stood upon the casket there,

And so did mine too, as the matter falls.

For wooing here until I sweat again,

And swearing till my very roof was dry

With oaths of love, at last—if promise last—

I got a promise of this fair one here

To have her love, provided that your fortune

Achieved her mistress.

GRATIANO

I think I’ve found one already, thanks to you, my lord. I can fall in love just as quickly as you can, and I loved Nerissa as soon as I laid eyes on her. You fell in love with Portia, and I fell in love with Nerissa, because I’m not in the habit of delaying any more than you are, my lord. Your fate depended on those boxes, and it turns out that mine did too. I couldn’t help but chase her. I started making love vows to her till my mouth was dry. Then finally she said she loved me and would marry me if you two got married as well.

PORTIA

Is this true, Nerissa?

PORTIA

Is that true, Nerissa?

NERISSA

Madam, it is, so you stand pleased withal.

NERISSA

Yes, madam, it is, if it’s all right with you.

BASSANIO

And do you, Gratiano, mean good faith?

BASSANIO

And do you mean what you’re saying, Gratiano?

GRATIANO

Yes, faith, my lord.

GRATIANO

Yes, my lord.

BASSANIO

Our feast shall be much honored in your marriage.

BASSANIO

Then we’d be honored to have you join us in our wedding ceremony.

GRATIANO

(to NERISSA) We’ll play with them the first boy for a thousand ducats.

GRATIANO

(to NERISSA) Let’s bet them a thousand ducats that we will have a son first.

NERISSA

What, and stake down?

NERISSA

You want to stake the money down now?

GRATIANO

No, we shall ne’er win at that sport and stake down. But who comes here? Lorenzo and his infidel? What, and my old Venetian friend Salerio?

GRATIANO

Hey, if I lay down my “stake,” I’ll never be able to have a son. But who’s this coming? Lorenzo and his pagan girlfriend? What, and my old Venetian friend Salerio?

Enter LORENZO, JESSICA, and SALERIO, a messenger from Venice

LORENZO and JESSICA enter with SALERIO, a messenger from Venice.

BASSANIO

Lorenzo and Salerio, welcome hither,

If that the youth of my new interest here

Have power to bid you welcome.

(to PORTIA)

By your leave,

I bid my very friends and countrymen,

Sweet Portia, welcome.

BASSANIO

Welcome, Lorenzo and Salerio. I hope my position in this new house is firm enough to allow me the right to welcome my friends. (to PORTIA) With your permission, Portia, I welcome my good friends and countrymen.

PORTIA

So do I, my lord.

They are entirely welcome.

PORTIA

I do too, my lord. They’re entirely welcome.

LORENZO

(to BASSANIO) I thank your honor. For my part, my lord,

My purpose was not to have seen you here.

But meeting with Salerio by the way,

He did entreat me, past all saying nay,

To come with him along.

LORENZO

(to BASSANIO) Thank you, sir. I didn’t intend to come see you. But I ran into Salerio on the way, and he begged me to come along with him until I couldn’t say no.

SALERIO

I did, my lord.

And I have reason for it. Signor Antonio

Commends him to you.

(gives BASSANIO letter)

SALERIO

That’s true, and with good reason. This letter is for you from Signor Antonio. (he gives BASSANIO a letter)

BASSANIO

Ere I ope his letter,

I pray you tell me how my good friend doth.

BASSANIO

Before I open this letter, please tell me how my good friend is doing.

SALERIO

Not sick, my lord, unless it be in mind,

Nor well, unless in mind. His letter there

Will show you his estate.

SALERIO

He’s not sick, my lord, but he’s very upset, and his problems are serious. His letter will tell you how he’s doing.

BASSANIO opens the letter and reads it

BASSANIO opens the letter and reads it.

GRATIANO

(indicating JESSICA)

Nerissa, cheer yond stranger. Bid her welcome.—

Your hand, Salerio. What’s the news from Venice?

How doth that royal merchant, good Antonio?

I know he will be glad of our success.

We are the Jasons, we have won the fleece.

GRATIANO

(pointing at JESSICA) Nerissa, welcome this stranger. —Salerio, welcome. Any news from Venice? How’s the great merchant Antonio doing? I know he’ll be happy to hear of our success. We’re like the ancient hero Jason, we went looking for the Golden Fleece and we won it!

SALERIO

I would you had won the fleece that he hath lost.

SALERIO

I wish you’d won the fleece he lost.

PORTIA

There are some shrewd contents in yond same paper

That steals the color from Bassanio’s cheek.

Some dear friend dead, else nothing in the world

Could turn so much the constitution

Of any constant man. What, worse and worse?—

With leave, Bassanio, I am half yourself,

And I must freely have the half of anything

That this same paper brings you.

PORTIA

Something bad in that letter is making Bassanio turn pale. Some good friend of his must have died, because nothing else in the world could change a man so much. What, does the news only get worse?—Please, Bassanio, I’m half of you, so let me bear half the burden this letter brings you.

BASSANIO

O sweet Portia,

Here are a few of the unpleasant’st words

That ever blotted paper. Gentle lady,

When I did first impart my love to you,

I freely told you, all the wealth I had

Ran in my veins. I was a gentleman,

And then I told you true. And yet, dear lady,

Rating myself at nothing, you shall see

How much I was a braggart. When I told you

My state was nothing, I should then have told you

That I was worse than nothing, for indeed

I have engaged myself to a dear friend,

Engaged my friend to his mere enemy

To feed my means.

Here is a letter, lady,

The paper as the body of my friend,

And every word in it a gaping wound,

Issuing life blood.—But is it true, Salerio?

Have all his ventures failed? What, not one hit?

From Tripolis, from Mexico and England,

From Lisbon, Barbary, and India?

And not one vessel ’scape the dreadful touch

Of merchant-marring rocks?

BASSANIO

Oh Portia, these are some of the worst words that ever stained a piece of paper. My darling, when I gave my love to you, I told you that all the wealth I had ran within my veins—that I have noble blood, but no money. When I said that, I told you the truth. But my dear, when I said I was worth nothing, I was actually bragging—I should’ve said that I was worse than nothing. I’ve borrowed money from a dear friend who in turn borrowed money from his mortal enemy for my sake. Here’s a letter, my dear. The paper’s like my friend’s body, and every word in it is a bleeding wound on that body.—But is it true, Salerio? Have all his business ventures failed? Not even one success? He had ships to Tripolis, Mexico, England, Lisbon, North Africa, and India, and not one of these ships avoided the rocks?

SALERIO

Not one, my lord.

Besides, it should appear that if he had

The present money to discharge the Jew,

He would not take it. Never did I know

A creature that did bear the shape of man

So keen and greedy to confound a man.

He plies the duke at morning and at night,

And doth impeach the freedom of the state

If they deny him justice. Twenty merchants,

The duke himself, and the magnificoes

Of greatest port have all persuaded with him.

But none can drive him from the envious plea

Of forfeiture, of justice, and his bond.

SALERIO

Not one, my lord. Anyway, even if he had the money now, the Jew probably wouldn’t take it. I’ve never seen a creature with a human shape who was so eager to destroy a man. He’s at the duke’s morning and night, accusing the state of harming free trade if they deny him justice. Twenty merchants, the duke himself, and the highest-ranking Venetian nobles have all tried to persuade him to forget his contract, but nobody can do it. He’s determined to get the penalty specified in his contract with Antonio.

JESSICA

When I was with him I have heard him swear

To Tubal and to Chus, his countrymen,

That he would rather have Antonio’s flesh

Than twenty times the value of the sum

That he did owe him. And I know, my lord,

If law, authority, and power deny not,

It will go hard with poor Antonio.

JESSICA

When I was still living with him I heard him swear to Tubal and Cush, his countrymen, that he’d rather have Antonio’s flesh than twenty times the sum Antonio owed. And I know that unless the law intervenes, it’ll be bad news for poor Antonio.

PORTIA

Is it your dear friend that is thus in trouble?

PORTIA

Is this your good friend who’s in so much trouble?

BASSANIO

The dearest friend to me, the kindest man,

The best conditioned and unwearied spirit

In doing courtesies, and one in whom

The ancient Roman honor more appears

Than any that draws breath in Italy.

BASSANIO

Yes, he’s my best friend, the kindest man and most courteous to others. He’s more honorable than anyone else in Italy.

PORTIA

What sum owes he the Jew?

PORTIA

How much does he owe the Jew?

BASSANIO

For me, three thousand ducats.

BASSANIO

Three thousand ducats.

PORTIA

What, no more?

Pay him six thousand and deface the bond!

Double six thousand, and then treble that,

Before a friend of this description

Shall lose a hair through Bassanio’s fault.

First go with me to church and call me wife,

And then away to Venice to your friend.

For never shall you lie by Portia’s side

With an unquiet soul. You shall have gold

To pay the petty debt twenty times over.

When it is paid, bring your true friend along.

My maid Nerissa and myself meantime

Will live as maids and widows. Come, away!

For you shall hence upon your wedding day.

Bid your friends welcome, show a merry cheer.

Since you are dear bought, I will love you dear.

But let me hear the letter of your friend.

PORTIA

What, that’s all? Pay him six thousand and cancel the debt. I’d pay twelve thousand before I’d let a friend like that suffer in the slightest because of you. First come with me to church to get married. Then you can leave for Venice to see your friend. You have to go, because you’ll never sleep next to me peacefully without settling this. I’ll give you enough gold to pay back your debt twenty times over. When it’s paid, bring your friend back. Until you get back, Nerissa and I will live like virgins and widows. Come on, let’s go, because you’re going to leave me the same day we get married. Put on a happy face, and welcome your friends. Since it’s costing me a lot to marry you, I’ll think of you as even more precious. But let me hear the letter from your friend.

BASSANIO

(reads)

“Sweet Bassanio, my ships have all miscarried. My creditors grow cruel. My estate is very low. My bond to the Jew is forfeit. And since in paying it, it is impossible I should live, all debts are cleared between you and I if I might but see you at my death. Notwithstanding, use your pleasure. If your love do not persuade you to come, let not my letter.”

BASSANIO

(he reads) “Dear Bassanio, my ships have all been wrecked. My creditors are getting mean. My money’s almost run out. I couldn’t pay my debt to the Jew on the due date. Since I’ll certainly die when he takes his collateral out of my flesh, all debts are cleared between you and me if I can just see you again before I die. In any case, do what you want. If your affection for me doesn’t convince you to come, don’t let my letter do so.”

PORTIA

O love, dispatch all business and be gone!

PORTIA

Oh, my darling, make your arrangements and go!

BASSANIO

Since I have your good leave to go away,

I will make haste. But till I come again,

No bed shall e’er be guilty of my stay,

No rest be interposer ’twixt us twain.

BASSANIO

Since you’re letting me leave, I’ll hurry. But I won’t sleep till I get back.

Exeunt

They exit.

Act 3, Scene 3

Enter SHYLOCK, SOLANIO, ANTONIO, and the jailer

SHYLOCK, SOLANIO, ANTONIO, and the jailer enter.

SHYLOCK

Jailer, look to him. Tell not me of mercy.

This is the fool that lent out money gratis.

Jailer, look to him.

SHYLOCK

Jailer, watch out for this one. Don’t try to convince me to feel sorry for him. This is the fool who lent out money without charging interest. Jailer, keep an eye on him.

ANTONIO

Hear me yet, good Shylock.

ANTONIO

Listen to me, good Shylock.

SHYLOCK

I’ll have my bond. Speak not against my bond.

I have sworn an oath that I will have my bond.

Thou calledst me dog before thou hadst a cause.

But since I am a dog, beware my fangs.

The duke shall grant me justice.—I do wonder,

Thou naughty jailer, that thou art so fond

To come abroad with him at his request.

SHYLOCK

I’m going to get my bond . Don’t try to say anything against my taking my bond. I’ve sworn an oath that I will have my bond. You called me a dog before you had any reason to. But since I’m a dog, beware my fangs. The duke will give me justice.—I do wonder, jailer, how you can be so foolish as to let this prisoner out of his cell.

ANTONIO

I pray thee, hear me speak.

ANTONIO

Please, listen to me.

SHYLOCK

I’ll have my bond. I will not hear thee speak.

I’ll have my bond, and therefore speak no more.

I’ll not be made a soft and dull-eyed fool

To shake the head, relent and sigh, and yield

To Christian intercessors. Follow not.

I’ll have no speaking. I will have my bond.

SHYLOCK

I want my bond. I won’t listen to you. I want my bond, so stop talking. I won’t be taken for a fool who sighs and gives in to Christian meddlers. Don’t follow me. I’m not talking with you. I want my bond.

Exit SHYLOCK

He exits.

SOLANIO

It is the most impenetrable cur

That ever kept with men.

SOLANIO

He’s the most stubborn dog that ever lived among humans.

ANTONIO

Let him alone.

I’ll follow him no more with bootless prayers.

He seeks my life. His reason well I know.

I oft delivered from his forfeitures

Many that have at times made moan to me.

Therefore he hates me.

ANTONIO

Leave him alone. I won’t follow him around with useless pleas anymore. He wants me dead. I know the real reason. I’ve often given money to people who were unable to pay back their loans to him. That’s why he hates me.

SOLANIO

I am sure the duke

Will never grant this forfeiture to hold.

SOLANIO

I’m sure the duke will never allow this contract to be enforced.

ANTONIO

The duke cannot deny the course of law.

For the commodity that strangers have

With us in Venice, if it be denied,

Will much impeach the justice of his state,

Since that the trade and profit of the city

Consisteth of all nations. Therefore go.

These griefs and losses have so bated me,

That I shall hardly spare a pound of flesh

Tomorrow to my bloody creditor.—

Well, jailer, on.—Pray God Bassanio come

To see me pay his debt, and then I care not.

ANTONIO

The duke can’t deny the law, because that would threaten the security of all foreign merchants in Venice, and that’s how the city makes its money. If the government disregards the law, it will be discredited. So go. I’ve lost so much weight worrying about my losses have that I’ll hardly have a pound of flesh to spare for my bloody creditor tomorrow.—Well, jailer, let’s go.—I hope to God that Bassanio comes to see me pay his debt. After that, I don’t care what happens.

Exeunt

They exit.

Act 3, Scene 4

Enter PORTIA, NERISSA, LORENZO, JESSICA, and BALTHAZAR, a man of PORTIA’s

PORTIA, NERISSA, LORENZO, and JESSICA enter with BALTHAZAR, a servant of PORTIA’s.

LORENZO

Madam, although I speak it in your presence,

You have a noble and a true conceit

Of godlike amity, which appears most strongly

In bearing thus the absence of your lord.

But if you knew to whom you show this honor,

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.

LORENZO

Madam, I hope you don’t mind my saying that I admire your noble respect for friendship, which you show in letting your husband go off to help his friend like this. If you only knew the man you’re helping out, and what a faithful gentleman he is and how much he loves your husband, I know you’d be even prouder of your kindness than you normally might be.

PORTIA

I never did repent for doing good,

Nor shall not now; for in companions

That do converse and waste the time together

Whose souls do bear an equal yoke of love,

There must be needs a like proportion

Of lineaments, of manners, and of spirit,

Which makes me think that this Antonio,

Being the bosom lover of my lord,

Must needs be like my lord. If it be so,

How little is the cost I have bestowed

In purchasing the semblance of my soul

From out the state of hellish cruelty!

This comes too near the praising of myself.

Therefore no more of it. Hear other things.

Lorenzo, I commit into your hands

The husbandry and manage of my house

Until my lord’s return.

For mine own part,

I have toward heaven breathed a secret vow

To live in prayer and contemplation,

Only attended by Nerissa here

Until her husband and my lord’s return.

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.

PORTIA

I’ve never regretted doing good, and I don’t now. Friends who spend a lot of time together and really care equally for each other must have many traits in common. Since Antonio’s my husband’s best friend, they must be very similar men. In that case, the money I’ve sent is a small price to pay to rescue someone who resembles my Bassanio, who’s like my own soul.—Anyway, let’s change the subject, since I feel like I’m starting to flatter myself. I have a favor to ask of you. Lorenzo, please take charge of the management of my house until my husband comes back. I’ve sworn to God that I’ll live a life of prayer and contemplation until my husband returns. Only Nerissa will keep me company. There’s a monastery two miles away where we can stay. Please say you’ll agree, because I really need you to do this.

LORENZO

Madam, with all my heart.

I shall obey you in all fair commands.

LORENZO

Madam, with all my heart. I’ll do anything you ask.

PORTIA

My people do already know my mind

And will acknowledge you and Jessica

In place of Lord Bassanio and myself.

So fare you well till we shall meet again.

PORTIA

I’ve already spoken to my staff about this. They’ll consider you and Jessica masters of this house in place of Lord Bassanio and myself. So goodbye until we meet again.

LORENZO

Fair thoughts and happy hours attend on you!

LORENZO

I hope you can relax and enjoy yourself!

JESSICA

I wish your ladyship all heart’s content.

JESSICA

I hope you find peace and happiness, my lady.

PORTIA

I thank you for your wish, and am well pleased

To wish it back on you. Fare you well, Jessica.

PORTIA

Thank you. I wish you the same. Goodbye, Jessica.

Exeunt JESSICA and LORENZO

JESSICA and LORENZO exit.

Now, Balthazar,

As I have ever found thee honest true,

So let me find thee still.

(gives BALTHAZAR a letter)

Take this same letter,

And use thou all th’ endeavour of a man

In speed to Padua. See thou render this

Into my cousin’s hands, Doctor Bellario.

And look what notes and garments he doth give thee,

Bring them, I pray thee, with imagined speed

Unto the traject, to the common ferry

Which trades to Venice. Waste no time in words,

But get thee gone. I shall be there before thee.

Now, Balthazar, you’ve always been honest and faithful to me, and I trust you still are. (she gives BALTHAZAR a letter) Take this letter to Padua as fast as you can. Make sure you put it into the hands of my cousin Bellario, the Doctor of Laws. And as quickly as possible, take whatever letters and clothes he gives you to the public ferry that goes back and forth to Venice. Don’t waste time talking now. Just go. I’ll meet you at the ferry.

BALTHAZAR

Madam, I go with all convenient speed.

BALTHAZAR

I’ll go as fast as I can, madam.

Exit BALTHAZAR

He exits.

PORTIA

Come on, Nerissa, I have work in hand

That you yet know not of. We’ll see our husbands

Before they think of us.

PORTIA

Come on, Nerissa, I have many things to do that you don’t even know about yet. We’ll see our husbands before they even have a chance to miss us.

NERISSA

Shall they see us?

NERISSA

Will they see us?

PORTIA

They shall, Nerissa, but in such a habit

That they shall think we are accomplishèd

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 honorable ladies sought my love,

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 killed 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 practice.

PORTIA

They will, Nerissa, but we’ll be disguised as men. I’ll bet you anything that I’ll be handsomer than you when we’re both dressed up. I’ll wear my sword more gracefully, and speak like a teenage boy, and walk with a manly stride rather than my ladylike steps. I’ll talk about fights like a bragging youth, and I’ll tell cute lies about honorable ladies who fell in love with me and got sick and died when I rejected them. They just died, what could I do! Then I’ll start feeling sorry for them, wishing I hadn’t killed them. I’ll tell twenty lies like that, so men will think I graduated from school at least a year ago. I know a thousand immature tricks like that, and I’ll use them all.

NERISSA

Why, shall we turn to men?

NERISSA

Why, are we turning to men?

PORTIA

Fie, what a question’s that

If thou wert near a lewd interpreter!

But come, I’ll tell thee all my whole device

When I am in my coach, which stays for us

At the park gate. And therefore haste away,

For we must measure twenty miles today.

PORTIA

What kind of question is that! If I had a dirty mind, I’d think you meant turning to men for sex. Here, I’ll tell you my whole plan in my carriage, which is waiting for us at the gate. So hurry up, because we have twenty miles to cover today.

Exeunt

They exit.

Act 3, Scene 5

Enter LAUNCELOT the clown and JESSICA

LAUNCELOT and JESSICA enter.

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 o’ 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 bastard hope neither.

LAUNCELOT

Yes, look, it’s true that children are punished for the sins of their fathers. That’s why I’m worried about you. I’ve always been straightforward with you, so now I’m telling you what I think. Cheer up, because I think you’re going to hell. There’s only one hope for you, and even that’s a kind of illegitimate hope.

JESSICA

And what hope is that, I pray thee?

JESSICA

What hope is that, may I ask?

LAUNCELOT

Marry, you may partly hope that your father got you not, that you are not the Jew’s daughter.

LAUNCELOT

You can hope your father isn’t your real father. Maybe your mother fooled around, and you aren’t the Jew’s daughter.

JESSICA

That were a kind of bastard hope indeed. So the sins of my mother should be visited upon me.

JESSICA

That really is an illegitimate hope. Then I’d be punished for the sins of my mother.

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.

LAUNCELOT

In that case I’m afraid you’re damned by both your father and your mother. When you avoid one trap, you fall into another. You’re in trouble either way.

JESSICA

I shall be saved by my husband. He hath made me a

Christian.

JESSICA

My husband will save me. He’s made me a Christian.

LAUNCELOT

Truly, the more to blame he. We were Christians eno’ before, e’en as many as could well live one by another. This making Christians will raise the price of hogs. If we grow all to be pork-eaters, we shall not shortly have a rasher on the coals for money.

LAUNCELOT

He was wrong to do that. There were enough Christians before—as many of them as could stand to live near each other. All these new Christians will make the price of hogs go up. If we’re all pork-eaters, we won’t be able to get our hands on a slice of bacon, even if we’ve got the money for it.

Enter LORENZO

LORENZO enters.

JESSICA

I’ll tell my husband, Launcelot, what you say. Here he comes.

JESSICA

I’ll tell my husband what you’ve said, Launcelot. Here he comes.

LORENZO

I shall grow jealous of you shortly, Launcelot, if you thus get my wife into corners.

LORENZO

You’re going to make me jealous, Launcelot, if you keep taking my wife into dark corners like this!

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 converting Jews to Christians you raise the price of pork.

JESSICA

No, you don’t need to worry about us, Lorenzo. Launcelot and I can’t agree on anything. He says I won’t get into heaven because I’m a Jew’s daughter, and he says you’re irresponsible because by converting Jews to Christianity you’re raising the price of pork.

LORENZO

I shall answer that better to the commonwealth than you can the getting up of the Negro’s belly. The Moor is with child by you, Launcelot.

LORENZO

I can justify that better than you can justify sleeping with Portia’s African servant. The Moor is pregnant with your child, Launcelot.

LAUNCELOT

It is much that the Moor should be more than reason. But if she be less than an honest woman, she is indeed more than I took her for.

LAUNCELOT

It’s too bad there’s more of the Moor than there ought to be. Well, even if she’s a less than honest woman, she’s still a lot more respectable than I thought at first.

LORENZO

How every fool can play upon the word! I think the best grace of wit will shortly turn into silence, and discourse grow commendable in none only but parrots. Go in, sirrah. Bid them prepare for dinner.

LORENZO

Any fool can make puns! I think the best sign of intelligence will soon be silence, and talking will only be a good thing for parrots to do. Go in and tell the servants to get ready for dinner.

LAUNCELOT

That is done, sir. They have all stomachs.

LAUNCELOT

That’s already been done, sir. They’re all ready to eat dinner.

LORENZO

Goodly Lord, what a wit-snapper are you! Then bid them prepare dinner.

LORENZO

Good Lord, what a clown you are! Tell them to make the dinner.

LAUNCELOT

That is done too, sir. Only “Cover!” is the word.

LAUNCELOT

That’s also been done, sir. The word you’re looking for is “cover .”

LORENZO

Will you cover then, sir?

LORENZO

Will you cover, then?

LAUNCELOT

Not so, sir, neither. I know my duty.

LAUNCELOT

No, sir—I know my duty.

LORENZO

Yet more quarreling with occasion! Wilt thou show the whole wealth of thy wit in an instant? 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.

LORENZO

You keep finding ways to mock me! Are you planning on showing me all your wit at once? Please understand my simple message: go tell the servants to set the table and bring in the food, and we’ll 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.

LAUNCELOT

About the table, sir, dinner will be served on it. As for the food, it will be served in covered dishes. As for your coming in to dinner, just do what you feel is right.

Exit LAUNCELOT

LAUNCELOT exits.

LORENZO

O dear discretion, how his words are suited!

The fool hath planted in his memory

An army of good words, and I do know

A many fools that stand in better place,

Garnished like him, that for a tricksy word

Defy the matter. How cheerest thou, Jessica?

And now, good sweet, say thy opinion.

How dost thou like the Lord Bassanio’s wife?

LORENZO

Oh, he’s good at bending words around! The fool has memorized a whole army full of fancy words. I know jesters in better positions, with the same talents he has. They also like to digress from the topic at hand by playing with language. Anyway, how are you, Jessica? And how do you like 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,

He finds the joys of heaven here on earth.

And if on earth he do not merit it,

In reason he should never come to heaven.

Why, if two gods should play some heavenly match

And on the wager lay two earthly women,

And Portia one, there must be something else

Pawned with the other, for the poor rude world

Hath not her fellow.

JESSICA

I like her more than I can say. Bassanio should live an upstanding life because having a wife like Portia is a blessing. It’s as if he found heaven here on earth. And if he doesn’t deserve this joy on earth, he’ll never deserve it in heaven. Imagine what would happen if two gods in heaven made a bet. If one of them used Portia as his stake, the other god would have a hard time coming up with a human woman to match her value. The poor rude world doesn’t have her equal.

LORENZO

Even such a husband

Hast thou of me as she is for a wife.

LORENZO

As good a wife as she is, that’s how good a husband I am to you.

JESSICA

Nay, but ask my opinion too of that!

JESSICA

I’ll be the judge of that!

LORENZO

I will anon. First let us go to dinner.

LORENZO

I’ll give you a chance to judge later. First let’s go to dinner.

JESSICA

Nay, let me praise you while I have a stomach.

JESSICA

No, let me say some good things about you while I’m in the mood.

LORENZO

No, pray thee, let it serve for table talk.

Then howsome’er thou speak’st ’mong other things

I shall digest it.

LORENZO

No, please, save it for dinner conversation. That way, no matter what you say, I’ll digest it with everything else.

JESSICA

Well, I’ll set you forth.

JESSICA

In that case I’ll serve you up like a dish of food.

Exeunt

They exit.

Act 4, Scene 1

Enter the DUKE, the magnificoes, ANTONIO, BASSANIO, GRATIANO, SALERIO, and others

The DUKE , the magnificoes, ANTONIO, BASSANIO, GRATIANO, SALERIO, and attendants all enter.

DUKE

What, is Antonio here?

DUKE

Is Antonio here?

ANTONIO

Ready, so please your grace.

ANTONIO

Yes, sir, I’m here.

DUKE

I am sorry for thee. Thou art come to answer

A stony adversary, an inhuman wretch

Uncapable of pity, void and empty

From any dram of mercy.

DUKE

I feel sorry for you. You’ve come to face a ruthless enemy, an inhuman wretch incapable of pity, without any feelings of mercy.

ANTONIO

I have heard

Your grace hath ta’en great pains to qualify

His rigorous course. But since he stands obdurate

And that no lawful means can carry me

Out of his envy’s reach, I do oppose

My patience to his fury, and am armed

To suffer with a quietness of spirit

The very tyranny and rage of his.

ANTONIO

They tell me you’ve done everything you can to talk him out of what he’s doing. But since he remains stubborn, and there’s no legal way to protect me from his malice, I’ll just have to take what he’ll give me. I’m ready to suffer peacefully whatever he does to me in his cruelty and anger.

DUKE

Go, one, and call the Jew into the court.

DUKE

One of you go call the Jew into court here.

SALERIO

He is ready at the door. He comes, my lord.

SALERIO

He’s standing ready outside the door. Here he comes, my lord.

Enter SHYLOCK

SHYLOCK enters.

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

Than is thy strange apparent cruelty,

And where thou now exacts the penalty—

Which is a pound of this poor merchant’s flesh—

Thou wilt not only loose the forfeiture

But—touched 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

Eno’ to press a royal merchant down

And pluck commiseration of his state

From brassy bosoms and rough hearts of flint,

From stubborn Turks and Tartars never trained

To offices of tender courtesy.

We all expect a gentle answer, Jew.

DUKE

Make room so he can stand in front of me. Shylock, everyone thinks—and I agree—that you’re just pretending to be cruel. They think that at the last second you’re going to show mercy and pity, which will be more surprising than the bizarre cruelty that you seem to be showing now. And even though you’re here to collect the penalty—a pound of this poor merchant’s flesh—they think you’ll not only let it go, but out of humanity and love you’ll forgive some portion of the principal he owes you too. In doing so you’ll be taking pity on him for his many recent losses, which have been large enough to send even the greatest merchant out of business, and make even the most hard-hearted Turk or Tartar feel sorry for him. What do you say? We all expect a nice answer from you, Jew.

SHYLOCK

I have possessed 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

A weight of carrion flesh than to receive

Three thousand ducats. I’ll not answer that

But say it is my humour. Is it answered?

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 answered yet?

Some men there are love not a gaping pig,

Some that are mad if they behold a cat,

And others, when the bagpipe sings i’ th’ nose,

Cannot contain their urine. For affection,

Mistress of passion, sways it to the mood

Of what it likes or loathes. Now, for your answer:

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 bagpipe, 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

I bear Antonio), that I follow thus

A losing suit against him. Are you answered?

SHYLOCK

I’ve told you what I intend to do, and I’ve sworn by the holy Sabbath to seek the penalty that is due according to our contract. If you refuse to allow me to do so, your city’s charter and its freedom are endangered. You’re going to ask me why I’d rather have a pound of decaying flesh than three thousand ducats. I won’t answer that. Let’s just say it’s because I feel like it. Is that enough of an answer? What if I had a rat in my house, and I felt like paying ten thousand ducats to have it exterminated? Do you have your answer yet? Some men don’t like roast pig, others go crazy if they see a cat, and others can’t help urinating when they hear bagpipes. There’s no sense trying to explain people’s likes and dislikes. So, to answer your question. Just as there’s no clear reason why one man doesn’t want a roast pig, or why another man can’t stand a harmless and useful cat, or another can’t tolerate bagpipes, so I can’t give a reason, and I won’t give a reason (other than the simple hate and loathing I feel for Antonio) why I’m pursuing this unprofitable case against him. Does that answer your question?

BASSANIO

This is no answer, thou unfeeling man,

To excuse the current of thy cruelty.

BASSANIO

That’s no answer, you heartless man. It doesn’t excuse your cruel behavior.

SHYLOCK

I am not bound to please thee with my answers.

SHYLOCK

I don’t have to give you answers that you like.

BASSANIO

Do all men kill the things they do not love?

BASSANIO

Does everyone kill what they don’t love?

SHYLOCK

Hates any man the thing he would not kill?

SHYLOCK

Does anyone hate something and not want to kill it?

BASSANIO

Every offense is not a hate at first.

BASSANIO

Disliking something isn’t the same thing as hating it.

SHYLOCK

What, wouldst thou have a serpent sting thee twice?

SHYLOCK

What, would you let a snake bite you twice?

ANTONIO

(to BASSANIO)

I pray you, think you question with the Jew?

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 fretten 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

Make no more offers, use no farther means,

But with all brief and plain conveniency

Let me have judgment and the Jew his will.

ANTONIO

(to BASSANIO) Please don’t bother arguing with the Jew. You might as well go stand on the beach and ask the ocean to get smaller. You might as well ask a wolf why he killed the lamb and made its mother cry. You might as well tell the pine trees on the mountain to stop waving their treetops when the storms blow through them. You might as well do the impossible rather than try to soften his Jewish heart. It’s the hardest thing imaginable. Therefore I’m begging you, don’t make any more offers, don’t look for other ways to stop him. Just let me receive my punishment, and let the Jew take his penalty.

BASSANIO

(to SHYLOCK) For thy three thousand ducats here is six.

BASSANIO

(to SHYLOCK) Instead of your three thousand ducats, here are six thousand.

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.

SHYLOCK

If you offered me six times that, I wouldn’t accept it. I would choose to take my penalty.

DUKE

How shalt thou hope for mercy, rendering none?

DUKE

How can you ever hope for mercy for yourself, when you don’t give any now?

SHYLOCK

What judgment shall I dread, doing no wrong?

You have among you many a purchased slave,

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!

Why sweat they under burdens? Let their beds

Be made as soft as yours and let their palates

Be seasoned with such viands”? You will answer,

“The slaves are ours.” So do I answer you.

The pound of flesh which I demand of him

Is dearly bought. ’Tis mine and I will have it.

If you deny me, fie upon your law—

There is no force in the decrees of Venice.

I stand for judgment. Answer, shall I have it?

SHYLOCK

Why should I be afraid of your judgment when I haven’t done anything wrong? Many of you own slaves, which—like your donkeys and dogs and mules—you use to perform awful jobs just because you bought them. Should I say to you, “Set them free! Let them marry your children! Why are you making them work so hard? Let their beds be as soft as yours, and let them eat the same food as you”? No, you’d answer, “The slaves are ours.” And that’s just how I’m answering you. The pound of flesh that I want from him was very expensive. It’s mine and I’m going to get it. If you refuse me, the laws of Venice have no validity. I await justice. So answer me. Will I get it?

DUKE

Upon my power I may dismiss this court,

Unless Bellario, a learnèd doctor,

Whom I have sent for to determine this,

Come here today.

DUKE

I have the authority to dismiss this court, unless Bellario comes today. He’s a legal expert I sent for to act as judge and help settle this matter.

SALERIO

My lord, here stays without

A messenger with letters from the doctor,

New come from Padua.

SALERIO

My lord, a messenger is waiting outside with letters from Bellario. He’s just come from Padua.

DUKE

Bring us the letter. Call the messenger.

DUKE

Bring us the letters. Call the messenger in.

BASSANIO

Good cheer, Antonio! What, man, courage yet!

The Jew shall have my flesh, blood, bones and all,

Ere thou shalt lose for me one drop of blood.

BASSANIO

Cheer up, Antonio! Keep up your courage, man! I’ll give the Jew my flesh, blood, bones, and everything before you lose one drop of blood for me.

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 employed, Bassanio,

Than to live still and write mine epitaph.

ANTONIO

I’m like the one sick sheep in the flock, the one who deserves to die. The weakest fruit drops to the ground first, so let me drop. Bassanio, the best thing you can do is to keep living and write an epitaph for my gravestone.

Enter NERISSA, disguised as a clerk

NERISSA enters, disguised as a lawyer’s clerk.

DUKE

Came you from Padua, from Bellario?

DUKE

Have you come from Bellario’s office in Padua?

NERISSA

From both, my lord. Bellario greets your grace.

(gives DUKE a letter)

NERISSA

Yes, my lord. Bellario sends his greetings. (she gives the DUKE a letter)

SHYLOCK sharpens a knife on the bottom of his shoe

SHYLOCK sharpens his knife on the sole of his shoe.

BASSANIO

(to SHYLOCK) Why dost thou whet thy knife so earnestly?

BASSANIO

(to SHYLOCK) Why are you sharpening your knife so eagerly?

SHYLOCK

To cut the forfeiture from that bankrupt there.

SHYLOCK

To cut my penalty from that bankrupt man over 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 keenness

Of thy sharp envy. Can no prayers pierce thee?

GRATIANO

You’re sharpening that knife not on your sole but on your soul, you cruel Jew. No metal—not even the executioner’s axe—could ever be half as sharp as your hatred. Can’t any prayers reach your heart?

SHYLOCK

No, none that thou hast wit enough to make.

SHYLOCK

No, none that you’re smart enough to make.

GRATIANO

O, be thou damned, inexecrable dog,

And for thy life let justice be accused!

Thou almost makest me waver in my faith

To hold opinion with Pythagoras

That souls of animals infuse themselves

Into the trunks of men. Thy currish spirit

Governed a wolf who, hanged for human slaughter,

Even from the gallows did his fell soul fleet,

And whilst thou layest in thy unhallowed dam

Infused itself in thee, for thy desires

Are wolvish, bloody, starved, and ravenous.

GRATIANO

Oh, you’re going to hell, you disgusting dog. Killing you would be justice. You almost make me forget that I’m a Christian. You make me want to agree with the philosopher Pythagoras that animal souls are reincarnated in human bodies. Your vicious dog soul used to belong to a wolf that was killed for slaughtering humans. When he died, his cruel soul passed out of his body and went into yours while you were lying in your unholy mother’s womb. That’s why your desires are wolfish, bloody, and ravenous.

SHYLOCK

Till thou canst rail the seal from off my bond,

Thou but offend’st thy lungs to speak so loud.

Repair thy wit, good youth, or it will fall

To cureless ruin. I stand here for law.

SHYLOCK

Unless your taunts can undo the signature on my contract, you’re just wearing out your lungs by speaking so loud. Be quiet, boy, or you’ll lose your mind. I stand here with the law on my side.

DUKE

This letter from Bellario doth commend

A young and learnèd doctor to our court.

Where is he?

DUKE

This letter from Bellario introduces us to a young and well-educated legal expert. Where is he?

NERISSA

He attendeth here hard by

To know your answer whether you’ll admit him.

NERISSA

He’s waiting nearby to find out if you’ll invite him in.

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.

(reads)

“Your grace shall understand 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 Balthazar. I acquainted him with the cause in controversy between the Jew and Antonio the merchant. We turned o’er many books together. He is furnished with my opinion, which—bettered with his own learning, the greatness whereof I cannot enough commend—comes with him at my importunity to fill up your grace’s request in my stead.I beseech you, let his lack of years be no impediment to let him lack a reverend estimation, for I never knew so young a body with so old a head. I leave him to your gracious acceptance, whose trial shall better publish his commendation.”

DUKE

With all my heart.—Three or four of you go welcome him.—In the meantime, I’ll read Bellario’s letter out loud.

(he reads)

“I’ve received your letter but I’m very sick at the moment. As it happened, when your messenger came, a young lawyer from Rome was visiting me. His name is Balthazar. I told him about the case of the Jew and Antonio the merchant, and we consulted many books together. He knows my legal opinions about this matter, and he has his own expert opinions as well. I’m sending him in my place to answer your request for someone to act as judge in this matter. Please don’t underestimate him because he’s so young. I never knew such a young man with such a mature head. I leave him to you. When you put him to the test, you’ll see how wonderful he really is. You hear what the wise and educated Bellario writes.”

Enter PORTIA for Balthazar, disguised as a doctor of law

PORTIA enters disguised as Balthazar, a lawyer.

You hear the learned Bellario, what he writes.

And here I take it is the doctor come.—

Give me your hand. Come you from old Bellario?

And this is the legal professor, I take it.—Let me shake your hand. Did old Bellario send you here?

PORTIA

I did, my lord.

PORTIA

Yes, my lord.

DUKE

You are welcome. Take your place.

Are you acquainted with the difference

That holds this present question in the court?

DUKE

Welcome. Please have a seat. Are you familiar with the case currently before the court?

PORTIA

I am informèd thoroughly of the cause.

Which is the merchant here, and which the Jew?

PORTIA

Yes, thoroughly. Which one is the merchant? And which one is the Jew?

DUKE

Antonio and old Shylock, both stand forth.

DUKE

Antonio and Shylock, both of you come forward.

PORTIA

Is your name Shylock?

PORTIA

Is your name Shylock?

SHYLOCK

Shylock is my name.

SHYLOCK

Shylock is my name.

PORTIA

Of a strange nature is the suit you follow,

Yet in such rule that the Venetian law

Cannot impugn you as you do proceed.—

(to ANTONIO) You stand within his danger, do you not?

PORTIA

Your case is most unusual, though the Venetian law can’t stop you from proceeding.—(to ANTONIO) He has a claim on you, correct?

ANTONIO

Ay, so he says.

ANTONIO

Yes, so he says.

PORTIA

Do you confess the bond?

PORTIA

Do you acknowledge the contract?

ANTONIO

I do.

ANTONIO

Yes, I do.

PORTIA

Then must the Jew be merciful.

PORTIA

Then the Jew must show you mercy.

SHYLOCK

On what compulsion must I? Tell me that.

SHYLOCK

Why do I have to do that? Tell me.

PORTIA

The quality of mercy is not strained.

It droppeth as the gentle rain from heaven

Upon the place beneath. It is twice blessed:

It blesseth him that gives and him that takes.

’Tis mightiest in the mightiest. It becomes

The thronèd monarch better than his crown.

His scepter shows the force of temporal power,

The attribute to awe and majesty

Wherein doth sit the dread and fear of kings,

But mercy is above this sceptered sway.

It is enthronèd 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,

And that same prayer doth teach us all to render

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.

PORTIA

No one shows mercy because he has to. It just happens, the way gentle rain drops on the ground. Mercy is a double blessing. It blesses the one who gives it and the one who receives it. It’s strongest in the strongest people. It looks better in a king than his own crown looks on him. The king’s scepter represents his earthly power, the symbol of majesty, the focus of royal authority. But mercy is higher than the scepter. It’s enthroned in the hearts of kings, a quality of God himself. Kingly power seems most like God’s power when the king mixes mercy with justice. So although justice is your plea, Jew, consider this. Justice won’t save our souls. We pray for mercy, and this same prayer teaches us to show mercy to others as well. I’ve told you this to make you give up this case. If you pursue it, this strict court of Venice will need to carry out the sentence against the merchant there.

SHYLOCK

My deeds upon my head. I crave the law,

The penalty, and forfeit of my bond.

SHYLOCK

I take all responsibility for my decisions. I want the law, the penalty, and the fulfillment of my contract.

PORTIA

Is he not able to discharge the money?

PORTIA

Can’t he pay back the money?

BASSANIO

Yes, here I tender it for him in the court—

Yea, twice the sum. If that will not suffice,

I will be bound to pay it ten times o’er,

On forfeit of my hands, my head, my heart.

If this will not suffice, it must appear

That malice bears down truth.—

(to DUKE)

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.

BASSANIO

Yes. I’m offering to pay it back right this moment—even twice the sum. If that’s not enough, I’ll sign a contract to pay ten times that much, and I’ll give you my hands, my head, and my heart as security. If that’s not enough, then you’re just evil and malicious.—(to the DUKE) I beg you, just this once, use your authority to bend the law. Do a great right by doing a little wrong. Don’t let this devil have his way.

PORTIA

It must not be. There is no power in Venice

Can alter a decree establishèd.

’Twill be recorded for a precedent,

And many an error by the same example

Will rush into the state. It cannot be.

PORTIA

That can’t happen. There’s no power in Venice that can change an established decree. The change will be recorded as a precedent, and many bad legal decisions will result. That can’t happen.

SHYLOCK

A Daniel come to judgment, yea, a Daniel!—

O wise young judge, how I do honor thee!

SHYLOCK

A Daniel has come to judgment, yes, a Daniel!—Oh, wise young judge, I honor you!

PORTIA

I pray you, let me look upon the bond.

PORTIA

Please, let me review the contract.

SHYLOCK

(giving PORTIA a document)

Here ’tis, most reverend doctor, here it is.

SHYLOCK

(he hands PORTIA a paper) Here it is, judge, here it is.

PORTIA

Shylock, there’s thrice thy money offered thee.

PORTIA

Shylock, they’re offering you three times the money you lent.

SHYLOCK

An oath, an oath, I have an oath in heaven.

Shall I lay perjury upon my soul?

No, not for Venice.

SHYLOCK

But I made an oath, an oath, an oath in heaven. Should I perjure my soul by disobeying it? No, not for all of Venice.

PORTIA

Why, this bond is forfeit!

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.

PORTIA

The money wasn’t paid back! And so the Jew may lawfully claim a pound of flesh nearest the merchant’s heart, to be cut off by him.—But please have mercy. Take three times your money. Tell me to tear up this contract.

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 judgment. By my soul I swear

There is no power in the tongue of man

To alter me. I stay here on my bond.

SHYLOCK

I’ll tear it up when it’s paid. You seem like a good judge. You know the law. Your explanation has made sense. I urge you to deliver your verdict. I swear that nothing anyone can say will change my mind. I’m sticking to the contract.

ANTONIO

Most heartily I do beseech the court

To give the judgment.

ANTONIO

I beg the court to deliver the verdict.

PORTIA

Why then, thus it is:

You must prepare your bosom for his knife.

PORTIA

Well, then, here it is: you must prepare yourself for his knife.

SHYLOCK

O noble judge! O excellent young man!

SHYLOCK

Oh, good judge! Oh, you excellent young man!

PORTIA

For the intent and purpose of the law

Hath full relation to the penalty,

Which here appeareth due upon the bond.

PORTIA

The law fully authorizes the penalty, which you have to pay according to the contract.

SHYLOCK

’Tis very true. O wise and upright judge!

How much more elder art thou than thy looks!

SHYLOCK

Very true. Oh wise judge! You’re so much older than you look!

PORTIA

(to ANTONIO) Therefore lay bare your bosom.

PORTIA

(to ANTONIO) So bare your chest.

SHYLOCK

Ay, his breast.

So says the bond. Doth it not, noble judge?

“Nearest his heart”—those are the very words.

SHYLOCK

Yes, his chest! That’s what the contract says, doesn’t it, judge? “Nearest his heart.”—Those are the very words.

PORTIA

It is so. Are there balance here to weigh

The flesh?

PORTIA

Yes. Is there a scale here to weigh the flesh?

SHYLOCK

I have them ready.

SHYLOCK

I have it ready.

PORTIA

Have by some surgeon, Shylock, on your charge,

To stop his wounds lest he do bleed to death.

PORTIA

Pay a surgeon to stand by and bind his wounds, Shylock, so he doesn’t bleed to death.

SHYLOCK

Is it so nominated in the bond?

SHYLOCK

Is that called for in the contract?

PORTIA

It is not so expressed, but what of that?

’Twere good you do so much for charity.

PORTIA

Not explicitly, but so what? It wouldn’t hurt you to be charitable.

SHYLOCK

I cannot find it. ’Tis not in the bond.

SHYLOCK

I can’t find it. It’s not in the contract.

PORTIA

(to ANTONIO) You, merchant, have you any thing to say?

PORTIA

(to ANTONIO) You, merchant, do you have anything to say?

ANTONIO

But little. I am armed and well prepared.—

Give me your hand, Bassanio. Fare you well.

Grieve not that I am fall’n to this for you,

For herein Fortune shows herself more kind

Than is her custom. It is still her use

To let the wretched man outlive his wealth,

To view with hollow eye and wrinkled brow

An age of poverty—from which lingering penance

Of such misery doth she cut me off.

Commend me to your honorable wife.

Tell her the process of Antonio’s end.

Say how I loved you. Speak me fair in death.

And when the tale is told, bid her be judge

Whether Bassanio had not once a love.

Repent 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,

I’ll pay it presently with all my heart.

ANTONIO

Not much. I’m ready and waiting.—Give me your hand, Bassanio. Goodbye. Don’t be sad that this happened because of you, because Lady Luck’s been nicer to me than usual. Usually she makes the unhappy man live on after he loses his wealth, to spend his old age in poverty. But in my case she’s letting me avoid that misery. Send your honorable wife my greetings, and tell her how I died and how I loved you. Speak well of me after I’m dead, and when the tale’s done, ask her to judge whether Bassanio had a friend. Be sad only at the fact that you’ll lose your friend—your friend doesn’t regret that he paid your debt. If the Jew cuts deep enough, I’ll pay it instantly 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 esteemed above thy life.

I would lose all—ay, sacrifice them all

Here to this devil—to deliver you.

BASSANIO

Antonio, I married a woman as dear to me as life itself. But life itself, my wife, and the whole world aren’t more valuable to me than your life is. I’d give it all up—yes, I’d sacrifice them all to this devil here—to save you.

PORTIA

Your wife would give you little thanks for that

If she were by to hear you make the offer.

PORTIA

Your wife wouldn’t like it if she were here to hear you make that offer.

GRATIANO

I have a wife, whom I protest I love.

I would she were in heaven, so she could

Entreat some power to change this currish Jew.

GRATIANO

I have a wife I love. I wish she were in heaven so she could appeal to some power to make this dog Jew change his mind.

NERISSA

’Tis well you offer it behind her back.

The wish would make else an unquiet house.

NERISSA

It’s nice you’re offering to sacrifice her behind her back. That wish of yours could start quite an argument back at home.

SHYLOCK

These be the Christian husbands. I have a daughter.

Would any of the stock of Barabbas

Had been her husband rather than a Christian!—

We trifle time. I pray thee, pursue sentence.

SHYLOCK

That’s what you get for marrying Christian husbands. I have a daughter. I wish she’d married any one of Barabbas’ descendants instead of a Christian!—We’re wasting time. Please, deliver the sentence.

PORTIA

A pound of that same merchant’s flesh is thine.

The court awards it, and the law doth give it.

PORTIA

A pound of this merchant’s flesh is yours. The court awards it and the law authorizes it.

SHYLOCK

Most rightful judge!

SHYLOCK

What a righteous judge!

PORTIA

And you must cut this flesh from off his breast.

The law allows it, and the court awards it.

PORTIA

And you have to cut this flesh from his chest. The law allows it, and the court awards it.

SHYLOCK

Most learnèd judge, a sentence! Come, prepare.

SHYLOCK

What a wise judge! Come on, get ready.

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

Unto the state of Venice.

PORTIA

But wait a moment. There’s something else. This contract doesn’t give you any blood at all. The words expressly specify “a pound of flesh.” So take your penalty of a pound of flesh, but if you shed one drop of Christian blood when you cut it, the state of Venice will confiscate your land and property under Venetian law.

GRATIANO

O upright judge!—Mark, Jew.—O learnèd judge!

GRATIANO

Oh, what an upright judge!—Pay attention, Jew.—Oh, what a smart judge!

SHYLOCK

Is that the law?

SHYLOCK

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.

PORTIA

You can see for yourself. You asked for justice, so rest assured you’ll get more justice than you bargained for.

GRATIANO

O learnèd judge!—Mark, Jew, a learnèd judge!

GRATIANO

Oh, what a wise judge!—Pay attention, Jew. A wise judge!

SHYLOCK

I take this offer then: pay the bond thrice

And let the Christian go.

SHYLOCK

In that case I’ll take their offer. Pay me three times the amount of the loan and let the Christian go.

BASSANIO

Here is the money.

BASSANIO

Here is the money.

PORTIA

Soft!

The Jew shall have all justice. Soft, no haste.

He shall have nothing but the penalty.

PORTIA

Wait! The Jew will have justice. Wait, don’t rush! He’s not getting anything except the penalty.

GRATIANO

O Jew! An upright judge, a learnèd judge!

GRATIANO

Oh, Jew, what an upright judge this is! What a wise 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 takest 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

But in the estimation of a hair,

Thou diest and all thy goods are confiscate.

PORTIA

So get ready to cut off the flesh. Don’t shed any blood, or cut less or more than exactly a pound of flesh. If you take more or less than exactly a pound, even if it’s just the tiniest fraction of an ounce—if the scale changes by even so much as a hair, you die, and all your property will be confiscated.

GRATIANO

A second Daniel!—A Daniel, Jew!

Now, infidel, I have you on the hip.

GRATIANO

A second Daniel!—A Daniel, Jew! I’ve got you now, pagan.

PORTIA

Why doth the Jew pause? Take thy forfeiture.

PORTIA

Why is the Jew waiting? Take your penalty.

SHYLOCK

Give me my principal, and let me go.

SHYLOCK

Give me my money and let me go.

BASSANIO

I have it ready for thee. Here it is.

BASSANIO

I have it ready for you. Here it is.

PORTIA

He hath refused it in the open court.

He shall have merely justice and his bond.

PORTIA

No, he refused it publicly, in open court. He will have only justice and his penalty.

GRATIANO

A Daniel, still say I, a second Daniel!—

I thank thee, Jew, for teaching me that word.

GRATIANO

A Daniel, I keep saying it! A second Daniel!—Thank you, Jew, for teaching me that word.

SHYLOCK

Shall I not have barely my principal?

SHYLOCK

I won’t even get the original three thousand ducats back?

PORTIA

Thou shalt have nothing but the forfeiture

To be so taken at thy peril, Jew.

PORTIA

You can’t have anything but the penalty, to be taken at your peril, Jew.

SHYLOCK

Why then, the devil give him good of it!

I’ll stay no longer question.

SHYLOCK

Well, then, I hope he chokes on it! I’m not staying here to argue anymore.

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

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

Of the defendant, and thou hast incurred

The danger formerly by me rehearsed.

Down, therefore, and beg mercy of the Duke.

PORTIA

Wait a minute, Jew. The law has another hold on you. The laws of Venice state that if a foreign resident directly or indirectly attempts to kill any citizen, the person he tried to kill will receive one half of the foreigner’s goods. The other half goes to the state. Whether the offending person lives or dies is up to the duke—there’s no one else to appeal to. In your predicament you’ve earned that punishment, because you’ve clearly contrived indirectly—and directly too—to take the life of the defendant. So get down on your knees and beg mercy from the duke.

GRATIANO

Beg that thou mayst have leave to hang thyself,

And yet, thy wealth being forfeit to the state,

Thou hast not left the value of a cord.

Therefore thou must be hanged at the state’s charge.

GRATIANO

Beg to be allowed to hang yourself! But if you’ve handed over all your wealth to the state, you don’t even have enough money left to buy a rope. So you’ll be hanged at the state’s expense.

DUKE

That thou shalt see the difference of our spirit,

I pardon thee thy life before thou ask it.

For half thy wealth, it is Antonio’s.

The other half comes to the general state,

Which humbleness may drive unto a fine.

DUKE

I want you to see the difference between us, so I pardon you even before you ask for a pardon. Half of your wealth goes to Antonio. The other half goes to the state. However, if you show a proper humility, I may reduce this penalty to a fine.

PORTIA

Ay, for the state, not for Antonio.

PORTIA

Yes, the state’s half can be reduced, but not Antonio’s.

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.

SHYLOCK

No, go ahead and take my life. Don’t pardon that. You take my house away when you take the money I need for upkeep. You take my life when you take away my means of making a living.

PORTIA

What mercy can you render him, Antonio?

PORTIA

What mercy can you show him, Antonio?

GRATIANO

A halter gratis, nothing else, for God’s sake.

GRATIANO

A hangman’s rope free of charge. Nothing else, for God’s sake!

ANTONIO

So please my lord the duke and all the court,

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 favor

He presently become a Christian;

The other, that he do record a gift

Here in the court, of all he dies possessed,

Unto his son Lorenzo and his daughter.

ANTONIO

If the duke and his court agree to set aside the fine for one half of his property, I’m happy, as long as he lets me have the other half in trust, to give it to the gentleman who recently stole his daughter. I only ask two more things. First, Shylock must immediately become a Christian. Second, he must make a will here in this court that leaves all his property to his son-in-law Lorenzo and his daughter when he dies.

DUKE

He shall do this, or else I do recant

The pardon that I late pronouncèd here.

DUKE

He must do this, or I’ll recant the pardon I just delivered.

PORTIA

Art thou contented, Jew? What dost thou say?

PORTIA

Are you satisfied, Jew? What do you say?

SHYLOCK

I am content.

SHYLOCK

I’m satisfied.

PORTIA

(to NERISSA)

Clerk, draw a deed of gift.

PORTIA

(to NERISSA) Clerk, draw up a document to make his gift official.

SHYLOCK

I pray you, give me leave to go from hence.

I am not well. Send the deed after me,

And I will sign it.

SHYLOCK

Please let me go. I’m not well. Send the deed after me and I’ll sign it.

DUKE

Get thee gone, but do it.

DUKE

Go, but sign the deed.

GRATIANO

(to SHYLOCK)

In christening shalt thou have two godfathers.

Had I been judge, thou shouldst have had ten more—

To bring thee to the gallows, not to the font.

GRATIANO

(to SHYLOCK) When you’re baptized a Christian, you’ll have two godfathers. If I’d been the judge, you would’ve had ten more—twelve jurors to sentence you to death rather than baptism.

Exit SHYLOCK

SHYLOCK exits.

DUKE

(to PORTIA) Sir, I entreat you home with me to dinner.

DUKE

(to PORTIA) Sir, please come 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.

PORTIA

I’m very sorry, sir, but I have to go to Padua tonight. I should really leave right away.

DUKE

I am sorry that your leisure serves you not.—

Antonio, gratify this gentleman,

For in my mind you are much bound to him.

DUKE

I’m sorry you don’t have time.—Antonio, give this gentleman a reward. In my opinion, you owe him a lot.

Exit DUKE and his train

The DUKE and his entourage exit.

BASSANIO

(to PORTIA) Most worthy gentleman, I and my friend

Have by your wisdom been this day acquitted

Of grievous penalties, in lieu whereof

Three thousand ducats due unto the Jew

We freely cope your courteous pains withal.

BASSANIO

(to PORTIA) Sir, thanks to you my friend and I have been freed from paying some awful penalties today. Instead of giving the Jew the three thousand ducats he’s owed, we give it to you in gratitude for your kind efforts.

ANTONIO

And stand indebted, over and above,

In love and service to you evermore.

ANTONIO

And even then we’re still indebted to you. We owe you love and service forever.

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.

PORTIA

Being satisfied with a job well done is payment enough. In saving you I consider myself well paid. My thoughts were never on money. I hope you’ll recognize me when we meet again. I wish you well. Now, I’ve got to go.

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.

BASSANIO

Sir, I really feel the need to give you something. Take some memento from us as a token of our gratitude, not as a fee. Please do two favors for me. First, don’t refuse me, and second, excuse me for insisting.

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.

PORTIA

Since you keep insisting, I’ll do as you say. (to ANTONIO) Give me your gloves. I’ll wear them for your sake. (to BASSANIO) And as a souvenir of your appreciation, I’ll take this ring from you. Don’t pull your hand back. I won’t take anything more than this, and you can’t refuse me this.

BASSANIO

This ring, good sir—alas, it is a trifle.

I will not shame myself to give you this.

BASSANIO

This ring, sir—oh no, it’s nothing. I’d be ashamed to give you this.

PORTIA

I will have nothing else but only this.

And now methinks I have a mind to it.

PORTIA

I don’t want anything but that. Now that I think about it, I really want 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.

BASSANIO

There’s more to this ring than its cash value. I’ll give you the most expensive ring in Venice, and I’ll make a public announcement to help me find it. But as for this ring, please excuse 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 answered.

PORTIA

I see you like to make big offers, sir. First you taught me how to beg, and now I think you’re teaching me how a beggar should be answered.

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.

BASSANIO

Good sir, this ring was given to me by my wife. When she put it on my finger, she made me swear never to sell it, give it away, or lose it.

PORTIA

That ’scuse serves many men to save their gifts.

An if your wife be not a madwoman,

And know how well I have deserved the ring,

She would not hold out enemy forever

For giving it to me. Well, peace be with you.

PORTIA

Many men use that excuse to avoid giving gifts. If your wife’s not a madwoman, and you tell her how much I deserve this ring, she won’t stay angry at you forever if you give it to me. Well, anyway, goodbye.

Exeunt PORTIA and NERISSA

PORTIA and NERISSA exit.

ANTONIO

My Lord Bassanio, let him have the ring.

Let his deservings and my love withal

Be valued against your wife’s commandment.

ANTONIO

Bassanio, let him have the ring. Consider how much he deserves it, and weigh that, along with my friendship, against your wife’s order.

BASSANIO

(giving GRATIANO the ring)

Go, Gratiano, run and overtake him.

Give him the ring and bring him, if thou canst,

Unto Antonio’s house. Away, make haste.

BASSANIO

(he gives GRATIANO the ring) Go, Gratiano, run and catch up with him. Give him the ring, and take him to Antonio’s house if you can. Go quickly.

Exit GRATIANO

GRATIANO exits.

Come, you and I will thither presently.

And in the morning early will we both

Fly toward Belmont. Come, Antonio.

Come on, you and I will go soon. Early in the morning we’ll both rush to Belmont. Come on, Antonio.

Exeunt

They exit.

Act 4, Scene 2

Enter PORTIA and NERISSA, both disguised

PORTIA and NERISSA enter, both still in disguise.

PORTIA

Inquire the Jew’s house out. Give him this deed,

And let him sign it. We’ll away tonight,

And be a day before our husbands home.

This deed will be well welcome to Lorenzo.

PORTIA

Find out where the Jew’s house is. Give him this deed and have him sign it. We’ll leave tonight and be home a day before our husbands get back. Lorenzo will be happy with what we’ve done.

Enter GRATIANO

GRATIANO enters.

GRATIANO

(giving PORTIA BASSANIO’s ring)

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.

GRATIANO

(he gives PORTIA BASSANIO’s ring) Sir, you’re lucky I caught up with you. Bassanio thought about it some more and sent this ring to you. He would like to invite you to dinner.

PORTIA

That cannot be.

His ring I do accept most thankfully.

And so I pray you tell him. Furthermore,

I pray you show my youth old Shylock’s house.

PORTIA

I can’t have dinner with him. Please tell him I accept his ring with thanks. And could you please take my servant to old Shylock’s house?

GRATIANO

That will I do.

GRATIANO

I’ll do that.

NERISSA

(to PORTIA)

Sir, I would speak with you.

(aside to PORTIA)

I’ll see if I can get my husband’s ring,

Which I did make him swear to keep for ever.

NERISSA

(to PORTIA) Sir, may I speak with you? (speaking so that only PORTIAcan hear) I’ll see if I can get my husband’s ring, which I made him swear to keep forever.

PORTIA

(aside to NERISSA)

Thou mayst, I warrant. We shall have old swearing

That they did give the rings away to men.

But we’ll outface them, and outswear them too.—

Away, make haste. Thou know’st where I will tarry.

PORTIA

(to NERISSA) I bet you’ll be able to. They’ll swear they gave the rings to men. But we’ll deny it and outswear them too.— Go, hurry. You know where I’ll be waiting.

Exit PORTIA

She exits.

NERISSA

(to GRATIANO)

Come, good sir. Will you show me to this house?

NERISSA

(to GRATIANO) Sir, will you show me to Shylock’s house now?

Exeunt

They exit.

Act 5, Scene 1

Enter LORENZO and JESSICA

LORENZO and JESSICA enter.

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 Trojan walls

And sighed his soul toward the Grecian tents

Where Cressid lay that night.

LORENZO

The moon’s bright tonight. I think that on a night like this, when the wind blew the trees so gently that they didn’t make a sound, Troilus climbed up onto the walls of Troy and sighed for Cressida in the Greek camp.

JESSICA

In such a night

Did Thisbe fearfully o’ertrip the dew

And saw the lion’s shadow ere himself

And ran dismayed away.

JESSICA

On a night like this, Thisbe saw the lion’s shadow and ran away in fear.

LORENZO

In such a night

Stood Dido with a willow in her hand

Upon the wild sea banks, and waft her love

To come again to Carthage.

LORENZO

On a night like this, Dido stood holding a willow branch on the seashore, begging her lover to come back to her in Carthage.

JESSICA

In such a night

Medea gathered the enchanted herbs

That did renew old Æson.

JESSICA

On a night like this, Medea gathered magic herbs to rejuvenate old Aeson.

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.

LORENZO

On a night like this, Jessica ran away from the wealthy Jew and stole his money. She ran away from Venice all the way to Belmont with her spendthrift lover.

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.

JESSICA

On a night like this, young Lorenzo swore he loved her very much, stealing her heart with vows of love, but not one vow was true.

LORENZO

In such a night

Did pretty Jessica, like a little shrew,

Slander her love, and he forgave it her.

LORENZO

On a night like this, pretty Jessica, in a bad mood, said outrageously wrong things about her lover, and he forgave her.

JESSICA

I would outnight you, did nobody come.

But, hark, I hear the footing of a man.

JESSICA

I’d get the better of you in this storytelling game, but somebody’s coming. I hear his footsteps.

Enter STEPHANO, a messenger

STEPHANO, a messenger, enters.

LORENZO

Who comes so fast in silence of the night?

LORENZO

Who are you, coming so fast in this quiet night?

STEPHANO

A friend.

STEPHANO

A friend.

LORENZO

A friend? What friend? Your name, I pray you, friend?

LORENZO

A friend? What friend? What’s your name, please, 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

By holy crosses, where she kneels and prays

For happy wedlock hours.

STEPHANO

My name’s Stephano, and I’ve come to tell you my mistress will arrive here at Belmont before sunrise. She’s still at the monastery, kneeling and praying for a happy marriage.

LORENZO

Who comes with her?

LORENZO

Who’s coming with her?

STEPHANO

None but a holy hermit and her maid.

I pray you, is my master yet returned?

STEPHANO

No one except her maid and a holy hermit. Has my master returned yet?

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.

LORENZO

No, he hasn’t, and we haven’t heard from him.—But let’s go in, Jessica. We’ll get ready to welcome the mistress of the house back home.

Enter LAUNCELOT the clown

LAUNCELOT enters.

LAUNCELOT

Sola, sola! Wo, ha, ho! Sola, sola!

LAUNCELOT

Hey, hey! Hey! Yoo-hoo!

LORENZO

Who calls?

LORENZO

Who’s shouting?

LAUNCELOT

Sola! Did you see Master Lorenzo? Master Lorenzo, sola, sola!

LAUNCELOT

Hey! Have you seen Master Lorenzo! Master Lorenzo, hey! Hey!

LORENZO

Leave holloaing, man. Here.

LORENZO

Stop hollering, man! I’m here.

LAUNCELOT

Sola! Where, where?

LAUNCELOT

Hey! Where, where?

LORENZO

Here.

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.

LAUNCELOT

Tell him a messenger has arrived from my master with good news. My master will be here in the morning.

Exit LAUNCELOT

LAUNCELOT exits.

LORENZO

Sweet soul, let’s in, and there expect their coming.

And yet no matter. Why should we go in?—

My friend Stephano, signify, I pray you,

Within the house, your mistress is at hand.

And bring your music forth into the air.

LORENZO

My dear, let’s go inside and wait for them to arrive. But I guess it doesn’t matter. Why should we go in?—Stephano, tell the household staff that your mistress is about to arrive, and bring some musicians outside here.

Exit STEPHANO

STEPHANO exits.

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 patens of bright gold.

There’s not the smallest orb which thou behold’st

But in his motion like an angel sings,

Still choiring 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.

How beautiful the moonlight’s shining on this bank! Let’s sit here and let the music fill our ears. Stillness and nighttime are perfect for beautiful music. Sit down, Jessica. Look at the stars, see how the floor of heaven is inlaid with small disks of bright gold. Stars and planets move in such perfect harmony that some believe you can hear music in their movement. If you believe this, even the smallest star sings like an angel in its motion. Souls have that same kind of harmony. But because we’re here on earth in our earthly bodies, we can’t hear it.

Enter musicians

Musicians enter.

Come ho, and wake Diana with a hymn!

With sweetest touches pierce your mistress’ ear,

And draw her home with music.

Wake up the moon goddess with a hymn! Get her attention and draw her home with music.

Play music

Music plays.

JESSICA

I am never merry when I hear sweet music.

JESSICA

I’m never in the mood to laugh when I hear sweet music.

LORENZO

The reason is your spirits are attentive.

For do but note a wild and wanton herd,

Or race of youthful and unhandled colts,

Fetching mad bounds, bellowing and neighing loud,

Which is the hot condition of their blood—

If they but hear perchance a trumpet sound,

Or any air of music touch their ears,

You shall perceive them make a mutual stand,

Their savage eyes turned to a modest gaze

By the sweet power of music.

Therefore the poet

Did feign that Orpheus drew trees, stones, and floods

Since naught 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.

LORENZO

That’s because your soul is paying attention to the music. Take a wild herd of animals, or young untrained colts, leaping around like crazy, roaring and neighing loudly, which they have to do because it’s in their blood—but if they happen to hear a trumpet, or any kind of music, they all stand still. Sweet music makes their wild eyes peaceful. That’s why the poet Ovid wrote that the great musician Orpheus could make trees, stones, and rivers come to him by playing music. There’s nothing in the world that can resist music. The man who can’t be moved by the harmonious melodies is fit only for treason, violence, and pillage. His soul is as dull as night and dark as the underworld. Nobody like that should be trusted. Pay attention to the music.

Enter PORTIA and NERISSA

PORTIA and NERISSA enter.

PORTIA

That light we see is burning in my hall.

How far that little candle throws his beams!

So shines a good deed in a naughty world.

PORTIA

That light we see is coming from my hall. Look how far that little candle sends its light! That’s the way a good deed shines in a naughty world.

NERISSA

When the moon shone we did not see the candle.

NERISSA

While the moon was shining we didn’t even notice 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.

PORTIA

Well, brighter lights always dim the smaller ones. A governor shines as brightly as a king until a king is near by, and the governor suddenly looks like a nobody. Music, listen!

NERISSA

It is your music, madam, of the house.

NERISSA

It’s your music, madam, from your house.

PORTIA

Nothing is good, I see, without respect.

Methinks it sounds much sweeter than by day.

PORTIA

Now I see that you can’t call anything good except in right context. I think that music sounds much better at night than it does during the day.

NERISSA

Silence bestows that virtue on it, madam.

NERISSA

The night’s silence makes it sound better.

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 seasoned are

To their right praise and true perfection!

Peace! How the moon sleeps with Endymion

And would not be awaked.

PORTIA

The crow sings as well as the lark when no one’s listening. If the nightingale sang during the day, when every goose is honking, nobody would think it sang any better than a wren. How many things in life seem good to us because of when they happen! Quiet now! Look how the moon seems to be sleeping with its lover and can’t be awoken!

Music ceases

Music ceases.

LORENZO

That is the voice,

Or I am much deceived, of Portia.

LORENZO

If I’m not mistaken, that’s Portia’s voice.

PORTIA

He knows me as the blind man knows the cuckoo—

By the bad voice.

PORTIA

He recognizes me like a blind man recognizes a cuckoo—by its bad voice.

LORENZO

Dear lady, welcome home.

LORENZO

Dear lady, welcome home.

PORTIA

We have been praying for our husbands’ welfare,

Which speed, we hope, the better for our words.

Are they returned?

PORTIA

We’ve been praying for our husbands’ welfare. We hope they’re better off because of our prayers. Have they come back?

LORENZO

Madam, they are not yet,

But there is come a messenger before

To signify their coming.

LORENZO

No, ma’am, they haven’t. But a messenger came ahead to tell us they were on their way.

PORTIA

Go in, Nerissa.

Give order to my servants that they take

No note at all of our being absent hence.—

Nor you, Lorenzo.—Jessica, nor you.

PORTIA

Go inside, Nerissa. Tell my servants not to mention that we were gone. You must not, either, Lorenzo—or you, Jessica.

A tucket sounds

A trumpet sounds.

LORENZO

Your husband is at hand. I hear his trumpet.

We are no tell-tales, madam. Fear you not.

LORENZO

Your husband’s near. I hear his trumpet. We’re not tattle-tales, madam, don’t worry.

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.

PORTIA

I think this night is just like sick daylight. It only looks a little paler. It looks like a day when the sun is hidden.

Enter BASSANIO, ANTONIO, GRATIANO, and their followers

GRATIANO and NERISSA move aside and talk BASSANIO, ANTONIO, GRATIANO, and their followers enter. GRATIANO and NERISSA move aside and talk.

BASSANIO

(to PORTIA) We should hold day with the Antipodes,

If you would walk in absence of the sun.

BASSANIO

(to PORTIA) If you walked outside at night, it would be daylight here at the same time as on the other side of the world.

PORTIA

Let me give light, but let me not be light.

For a light wife doth make a heavy husband,

And never be Bassanio so for me.

But God sort all! You are welcome home, my lord.

PORTIA

I’ll give light to men, but I’ll never be light or unchaste. An unfaithful wife makes a husband worry, and I’ll never let Bassanio worry if I can help it. I hope God figures it all out! Welcome home, my husband.

BASSANIO

I thank you, madam. Give welcome to my friend.

This is the man, this is Antonio,

To whom I am so infinitely bound.

BASSANIO

Thank you, darling. I’d like to introduce you to my friend. This is Antonio, my dearest friend. We are closely tied.

PORTIA

You should in all sense be much bound to him.

For as I hear he was much bound for you.

PORTIA

You should be tied to him, since he tied himself up so much for you.

ANTONIO

No more than I am well acquitted of.

ANTONIO

But I’ve been paid back well.

PORTIA

Sir, you are very welcome to our house.

It must appear in other ways than words,

Therefore I scant this breathing courtesy.

PORTIA

Sir, welcome to our house. But action speaks louder than words, so I’ll cut short these polite words.

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 gelt that had it, for my part,

Since you do take it, love, so much at heart.

GRATIANO

(to NERISSA) I swear by that moon over there that you’re doing me wrong! I’m telling the truth! I gave it to the judge’s clerk. I wish the guy I gave it to had been castrated, since you’re getting so upset about it.

PORTIA

A quarrel, ho, already? What’s the matter?

PORTIA

What, an argument 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.”

GRATIANO

We’re arguing about a hoop of gold, a cheap little ring she gave me, that had a little inscription on it, nothing more than a knife-maker’s attempt at poetry. It said, “Love me and don’t leave me.”

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.

NERISSA

How can you talk about the quality of the poem or the value of the ring? You swore to me when I gave it to you that you would wear it till you died, and that it would be buried with you. If you didn’t want to take care of it for my sake, you should have just because you made so many vows that you’d take care of it. And now you claim you gave it to a judge’s clerk! No, I swear to God that clerk will never grow a beard on his face.

GRATIANO

He will, an if he live to be a man.

GRATIANO

He will if he lives long enough to become a man.

NERISSA

Ay, if a woman live to be a man.

NERISSA

Yes, if a woman grows up to be a man.

GRATIANO

Now, by this hand, I gave it to a youth,

A kind of boy, a little scrubbèd boy

No higher than thyself, the judge’s clerk,

A prating boy that begged it as a fee.

I could not for my heart deny it him.

GRATIANO

I swear I gave it to a youth, a kind of boy, a little stunted boy, no taller than yourself. He was the judge’s clerk, a chatty boy who wanted it as a fee. I didn’t have the heart to say no to 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

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, Gratiano,

You give your wife too unkind a cause of grief.

An ’twere to me, I should be mad at it.

PORTIA

I have to be honest with you. You were wrong to give away your wife’s first gift so thoughtlessly, a thing you swore to keep on your finger and bound faithfully to your body. I gave my lover a ring and made him swear never to lose it or give it away. And here he is. I’d swear he wouldn’t leave it behind, or even take it off his finger, for all the money in the world. To tell the truth, Gratiano, you’re giving your wife a valid reason to get upset. If it were me, I’d be very upset too.

BASSANIO

(aside) Why, I were best to cut my left hand off

And swear I lost the ring defending it.

BASSANIO

(to himself) Maybe I should cut off my left hand and swear I lost the ring defending it.

GRATIANO

My Lord Bassanio gave his ring away

Unto the judge that begged it and indeed

Deserved it too. And then the boy, his clerk,

That took some pains in writing, he begged mine.

And neither man nor master would take aught

But the two rings.

GRATIANO

Bassanio gave his ring to the judge who asked for it, and deserved it too. And then his clerk, who went to a lot of trouble with the writing, begged for mine. Neither of them would take anything but the two rings.

PORTIA

What ring gave you my lord?

Not that, I hope, which you received of me.

PORTIA

Which ring did you give away, my lord? Not the one I gave you, I hope.

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.

BASSANIO

If I could make things better by lying, I’d deny it. But you see my finger doesn’t have the ring on it. It’s gone.

PORTIA

Even so void is your false heart of truth.

By heaven, I will ne’er come in your bed

Until I see the ring.

PORTIA

Just as there’s no ring on your finger, there’s no truth in your heart. I swear I’ll never get into your bed until I see the ring again!

NERISSA

(to GRATIANO)

Nor I in yours

Till I again see mine.

NERISSA

(to GRATIANO) Me neither, until I see mine again!

BASSANIO

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 naught would be accepted but the ring,

You would abate the strength of your displeasure.

BASSANIO

My dear Portia, if you knew who I gave the ring to, for whose sake I gave the ring to him, why I gave it to him, and how unwilling I was to leave it when he wouldn’t accept anything but the ring, you wouldn’t be so angry.

PORTIA

If you had known the virtue of the ring,

Or half her worthiness that gave the ring,

Or your own honor 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.

PORTIA

If you’d known how much that ring meant, how much the woman who gave it to you is worth, or how much your honor depended on your keeping the ring, you wouldn’t have let it go. Who would be so unreasonable as to insist on taking the ring if you’d defended it with any kind of zeal? Who would have had so little self-restraint that they’d insist on getting a ring with ceremonial value? Nerissa’s got the right idea. I’ll bet my life you gave some woman the ring!

BASSANIO

No, by my honor, madam, by my soul,

No woman had it but a civil doctor,

Which did refuse three thousand ducats of me

And begged the ring, the which I did deny him

And suffered 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 honor would not let ingratitude

So much besmear it. Pardon me, good lady,

For by these blessèd candles of the night,

Had you been there I think you would have begged

The ring of me to give the worthy doctor.

BASSANIO

No, I swear, madam. No woman got it from me, but an expert in civil law who refused three thousand ducats but asked instead for the ring, which I denied him. I watched him leave looking discontented, even though he had saved the life of my good friend. What could I say, my dear? I had to send it to him. I was ashamed and wanted to show my good manners. I just couldn’t dishonor myself by acting ungrateful to him. Please forgive me, good lady. If you’d been there, I think you would have begged me to give him the ring.

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,

No, not my body, nor my husband’s bed.

Know him I shall, I am well sure of it.

Lie not a night from home. Watch me like Argus.

If you do not, if I be left alone,

Now, by mine honor—which is yet mine own—

I’ll have that doctor for my bedfellow.

PORTIA

Don’t let that lawyer ever come near my house! Since he has the jewel I loved, which you swore you’d keep forever, I’ll be as generous as you were to him. I won’t deny him anything of mine, including my own body and my husband’s bed. I’ll recognize him all right, I’m sure of it. So don’t spend one night away from this house. Watch me like a hawk. If you don’t, if I’m left alone, I swear I’ll have that legal expert as my bedfellow.

NERISSA

(to GRATIANO) And I his clerk. Therefore be well advised

How you do leave me to mine own protection.

NERISSA

(to GRATIANO) And I’ll have his clerk as mine. So be careful when you leave me to my own devices.

GRATIANO

Well, do you so, let not me take him then.

For if I do I’ll mar the young clerk’s pen.

GRATIANO

Well, go ahead. But don’t let me catch him, because if I do I’ll break that clerk’s pen.

ANTONIO

I am th’ unhappy subject of these quarrels.

ANTONIO

All these quarrels are about me.

PORTIA

Sir, grieve not you. You are welcome notwithstanding.

PORTIA

Don’t be upset. You’re welcome in our home in spite of everything that’s going on.

BASSANIO

Portia, forgive me this enforcèd wrong,

And in the hearing of these many friends

I swear to thee, even by thine own fair eyes

Wherein I see myself—

BASSANIO

Portia, forgive me for this mistake that I had to make. All these friends are my witnesses, so I swear to you, I swear by your beautiful eyes, in which I see myself reflected—

PORTIA

Mark you but that!

In both my eyes he doubly sees himself—

In each eye, one. Swear by your double self,

And there’s an oath of credit!

PORTIA

Did you hear that! He sees himself in my two eyes, so there’s two of him. He should swear by his two-faced self, and that’s an oath I’ll believe!

BASSANIO

Nay, but hear me.

Pardon this fault, and by my soul I swear

I never more will break an oath with thee.

BASSANIO

No, just listen to me. If you forgive my mistake, I swear I’ll never break an oath with you again.

ANTONIO

I once did lend my body for his wealth,

Which but for him that had your husband’s ring

Had quite miscarried. I dare be bound again,

My soul upon the forfeit, that your lord

Will never more break faith advisedly.

ANTONIO

I lent my body once to make him rich. If it hadn’t been for the gentleman who now owns your husband’s ring, my body would’ve been lost. I’d be the guarantee again, promising my soul this time as penalty, if your husband ever breaks a vow again knowingly.

PORTIA

(giving ANTONIO a ring)

Then you shall be his surety. Give him this,

And bid him keep it better than the other.

PORTIA

(she gives ANTONIO a ring) Then you’ll be my guarantee. Give him this. And tell him to hold on to it better than the other one.

ANTONIO

(giving BASSANIO PORTIA’s ring)

Here, Lord Bassanio. Swear to keep this ring.

ANTONIO

(he gives BASSANIO PORTIA’s ring) Here, Bassanio, swear that you’ll keep this ring.

BASSANIO

By heaven, it is the same I gave the doctor!

BASSANIO

My God, it’s the same one I gave the judge!

PORTIA

I had it of him. Pardon me, Bassanio,

For by this ring, the doctor lay with me.

PORTIA

I got it from him. I’m sorry, Bassanio, but the legal expert slept with me in exchange for this ring.

NERISSA

(taking out a ring)

And pardon me, my gentle Gratiano,

For that same scrubbèd boy, the doctor’s clerk,

In lieu of this, last night did lie with me.

NERISSA

(she takes out a ring) And I’m sorry too, Gratiano, but that stunted lawyer’s clerk slept with me last night in exchange for this ring.

GRATIANO

Why, this is like the mending of highways

In summer where the ways are fair enough!

What, are we cuckolds ere we have deserved it?

GRATIANO

This is like fixing roads in the summer when they don’t need to be fixed! What, did you cheat on us before we deserved it?

PORTIA

Speak not so grossly.—You are all amazed.

(takes out a letter)

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

Shall witness I set forth as soon as you,

And even but now returned. I have not yet

Entered my house.—Antonio, you are welcome.

And I have better news in store for you

Than you expect.

(gives ANTONIO another letter)

Unseal this letter soon.

There you shall find three of your argosies

Are richly come to harbor suddenly.

You shall not know by what strange accident

I chancèd on this letter.

PORTIA

Don’t be crass.—You all look confused. (she takes out a letter) Here’s a letter. Read it at your leisure. It comes from Padua, from Bellario. You’ll find out that Portia was the lawyer, and Nerissa was her clerk. Lorenzo here will testify that I left the house right when you did, and just returned. I haven’t yet entered my house.—Antonio, welcome. I have better news than you expect in store for you. (she gives ANTONIO another letter) Open this letter. You’ll find out that three of your ships have suddenly arrived in the harbor loaded with a great deal of wealth. You’ll never guess what a strange coincidence it was that I came across this letter.

ANTONIO

I am dumb.

ANTONIO

I’m speechless.

BASSANIO

(to PORTIA) Were you the doctor and I knew you not?

BASSANIO

(to PORTIA) You were the doctor, and I didn’t even recognize you?

GRATIANO

(to NERISSA) Were you the clerk that is to make me cuckold?

GRATIANO

(to NERISSA) Were you the clerk with whom my wife’s going to cheat on me?

NERISSA

Ay, but the clerk that never means to do it

Unless he live until he be a man.

NERISSA

Yes, but the clerk will never do it, unless he grows up to be a man.

BASSANIO

(to PORTIA) Sweet doctor, you shall be my bedfellow.

When I am absent then lie with my wife.

BASSANIO

(to PORTIA) My sweet lawyer, you’ll be my bedfellow. When I’m not there, you can sleep with my wife.

ANTONIO

Sweet lady, you have given me life and living.

For here I read for certain that my ships

Are safely come to road.

ANTONIO

Madam, you’ve given me life and given me a living too. I’ve read in this letter that my ships have safely come to harbor.

PORTIA

How now, Lorenzo?

My clerk hath some good comforts too for you.

PORTIA

How are you, Lorenzo? My clerk has some comforting news for you, too.

NERISSA

Ay, and I’ll give them him without a fee.

(gives LORENZO a document)

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.

NERISSA

Yes, and I’ll give it to him for free. (she gives LORENZO a document) This is from the rich Jew, for you and Jessica. It’s a special testament. After he dies, you’ll inherit everything he owns.

LORENZO

Fair ladies, you drop manna in the way

Of starvèd people.

LORENZO

Ladies, you’re dropping bread from the heavens to starving 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 interr’gatories,

And we will answer all things faithfully.

PORTIA

It’s almost morning, but I’m sure you’re not fully satisfied about what happened. Let’s go inside and we’ll answer all your questions truthfully.

GRATIANO

Let it be so. The first interr’gatory

That my Nerissa shall be sworn on is

Whether till the next night she had rather stay,

Or go to bed now, being two hours to day.

But were the day come, I should wish it dark,

That I were couching with the doctor’s clerk.

Well, while I live I’ll fear no other thing

So sore as keeping safe Nerissa’s ring.

GRATIANO

All right, then. My first question for Nerissa is whether she’d rather wait till tomorrow night or go to bed now, since there are only two more hours till morning. When the day comes, I’ll wish it were nighttime, so I could sleep with the legal expert’s clerk. In any case, I won’t worry about anything for the rest of my life more than keeping Nerissa’s ring safe.

Exeunt

They exit.