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William Shakespeare The Merchant of Venice

There was a long tradition in Classical and Christian moral thinking against BACKGROUND INFO usury. Shakespeare's contemporary, the philosopher and statesman Sir Francis Bacon, argued in his essay On Usury that it was "against nature for money to AUTHOR BIO beget money." Full Name: William Shakespeare EXTRA CREDIT Date of Birth: 1564 "Which is the merchant here? And which the Jew?" Modern audiences of Merchant of Venice often mistake Shylock for the "merchant" of the Place of Birth: Stratford-upon-Avon, England title—which actually refers to Antonio. Date of Death: 1616 Brief Life Story: Shakespeare's father was a glove-maker, and Shakespeare PLOT SUMMARY received no more than a grammar school education. He married Anne Hathaway in 1582, but left his family behind around 1590 and moved to In Venice, Bassanio, a not-so-wealthy nobleman, asks to borrow money from London, where he became an actor and playwright. He was an immediate his dear friend and wealthy merchant Antonio, in order to have the funds to success: Shakespeare soon became the most popular playwright of the day as woo Portia, a wealthy noblewoman. Although Antonio doesn't have cash well as a part-owner of the Globe Theater. His theater troupe was adopted by handy, because all of his ships are at sea, he gives Bassanio permission to King James as the King's Men in 1603. Shakespeare retired as a rich and borrow as much money as he needs on Antonio's credit. prominent man to Stratford-upon-Avon in 1613, and died three years later. Meanwhile, at her nearby country estate of Belmont, Portia laments to her KEY FACTS serving woman Nerissa about her father's will, which stipulates that any man Full Title: The Merchant of Venice who wants to marry Portia must answer a riddle by choosing one of three "caskets," or chests (one gold, one silver, and one lead). Only the man who Genre: Comedy/tragicomedy; Revenge tragedy chooses correctly can become Portia's husband. Portia has been disgusted Setting: Venice, and the nearby country estate of Belmont with all of her suitors thus far. Still, Nerissa reminds Portia of a fine enetianV marriage prospect—Bassanio. Climax: The trial of Antonio, the merchant, and Shylock, the Jewish moneylender Bassanio asks the Jewish moneylender, Shylock, to lend him 3000 ducats. After much hesitation, Shylock agrees—Antonio will guarantee the loan with Protagonists: Antonio, Bassanio, Portia his property as collateral. However, when Antonio himself arrives and begins Antagonist: Shylock insulting Shylock for committing usury (charging interest on his loans), Shylock proposes a bizarre alternative. He will not charge Bassanio any interest for HISTORICAL AND LITERARY CONTEXT three months. However, if Antonio defaults, Shylock will be entitled to cut one When Written: 1596–8 pound of flesh from anywhere on Antonio's body that he likes. Confident that his ships will return to Venice, with many times 3000 ducats, well before Where Written: England Shylock's deadline, Antonio accepts. When Published: 1623 At Belmont, the Prince of Morocco arrives to try his luck at the riddle of the Literary Period: The Renaissance caskets. He chooses incorrectly (gold), and leaves in defeat. Meanwhile, in Related Literary Works: Though some describe The Merchant of Venice as a Venice, Lorenzo, a friend of Bassanio's, has fallen in love with Shylock's comedy because it ends with the marriage of its heroes Portia and Bassanio, it daughter, Jessica. One night, when Shylock goes out, Jessica steals a large sum can also be described as a kind of "revenge tragedy." Typically, a revenge of money from her father and elopes, as planned, with Lorenzo. Lorenzo and tragedy revolves around the quest of its central character to avenge a wrong Jessica, along with many others, then travel with Bassanio to Portia's estate. committed against him, which usually leads to the deaths of many characters, The Prince of Aragon is the next of Portia's suitors to try to solve the riddle of almost always including the revenge-seeker himself. Shakespeare wrote the caskets. After much deliberation, he chooses silver, which is wrong. As the several revenge tragedies, including Hamlet. Shakespeare's late romance, The Prince of Aragon leaves, Bassanio arrives, laden with gifts for Portia. Tempest (1510–1) takes the form of a "revenge tragedy averted," beginning A few weeks pass, and news arrives that Antonio's ships have been lost at sea. with the revenge plot but ending happily. Merchant of Venice might be Though Shylock has been unable to locate Jessica, he consoles himself that he described as a revenge tragedy barely averted, as Portia swoops into the will have his revenge in the form of the pound of flesh promised to him yb his courtroom scene and saves Antonio from Shylock. Perhaps the most contract with Antonio. important related work for Merchant of Venice, however, is Christopher Marlowe's The Jew of Malta (1589-90), which tells the story of the Back at Belmont, Portia and Bassanio, who have spent all this time together, moneylender, Barabas, who has all his wealth seized by the Maltese have fallen in love. Portia begs Bassanio to wait before facing the riddle, government in order to finance the defense of the island against invading because she can't bear the thought of losing him if he guesses wrong. But he Ottoman Turks. Barabas revenges himself against the governor who seized his insists on going ahead. To their joy, he chooses the correct casket (lead). To property, allies with the Turks, and briefly becomes governor of Malta himself, seal their betrothal, Portia gives him a ring, instructing him never to lose it or before the Maltese regain control of the island and put him to death. give it away. Then Nerissa and Bassanio's vulgar friend Gratiano announce that they, too, intend to wed. However, just then, a letter arrives from Antonio, Related Historical Events: Like much of the rest of Europe, England severely with news of his lost ships and Shylock's intention to collect his pound of flesh. restricted the rights of Jews. In fact, Jews were banished completely from Alarmed, Portia gives Bassanio enough money to repay the loan many times England in 1290 by King Edward I, and were not officially allowed to return over. As Bassanio hurries off to Venice, Portia hatches a plan of her own to until 1655, when Oliver Cromwell allowed Jews to return. This exile was save Antonio. technically in effect during Shakespeare's time, but scholars believe that a few hundred Jews still lived around London in the guise of Christians. One of the In the court of Venice, the Duke is presiding over Antonio's trial. Shylock reasons Renaissance Christians disliked Jews was the Jews' willingness to resists their requests that he show mercy and insists on pursuing his "pound of practice usury—the practice of charging interest or "use" on borrowed money. flesh," despite the fact that Bassanio has offered him 9000 ducats instead.

Nerissa and Portia arrive on the scene, disguised as a law clerk and a lawyer, Jessica - Shylock's daughter, who moves from merely disdaining her father to respectively. Portia points out that the contract Shylock holds doesn't give him actually robbing him, eloping with a Christian Venetian, Lorenzo, and the right to take any blood from Antonio, and that if Shylock sheds even a drop converting to Christianity. of blood while cutting Antonio's flesh that all of Shylock's wealth will be Lorenzo - A Venetian and friend of Bassanio and Antonio, who is in love with confiscated yb the state. She further finds Shylock guilty of conspiring to kill a Shylock's daughter Jessica. Lorenzo elopes with Jessica, taking money and Venetian citizen, and therefore must hand over half of his wealth to Antonio precious items that she has stolen from her father. and the other half to the state. Antonio and the Duke decide to show mercy, however: Shylock must only give half his wealth to Antonio, and promise to Nerissa - Portia's servant and confidante, Nerissa ultimately marries leave the other half of his wealth to Jessica and Lorenzo after his death. In Bassanio's companion, Gratiano. addition, Shylock must convert to Christianity. Devastated, Shylock accepts. Launcelot Gobbo - A clownish servant, who leaves Shylock in order to work As Portia is leaving, Bassanio (who still thinks she is Balthazar, the lawyer) for Bassanio. tries to offer her money in thanks for her favorable judgment. She refuses, Salerio - A Venetian nobleman, friendly with Antonio, Bassanio, Gratiano, and asking for his the ring that he is wearing instead. Thinking of his vow never to Lorenzo. part with it, Bassanio hesitates. But after some prodding from Antonio, he Solanio - A Venetian nobleman and good friend of Salerio. gives in. Gratiano also gives his ring to Nerissa. Prince of Morocco - A Moorish prince who comes to woo Portia at Belmont. Back at Belmont, Lorenzo and Jessica have been enjoying an idyllic romantic He asks Portia not to judge him by the color of his skin, but incorrectly picks evening. Shortly before dawn, Portia and Nerissa arrive, soon followed by the gold casket. Bassanio, Gratiano, and Antonio. The women feign indignation that their husbands lost their rings. However, they soon end the game and confess their Prince of Aragon - A Spanish nobleman who woos Portia at Belmont. He role in the court scene. The couples are reconciled, and news arrives that incorrectly picks the silver casket. Antonio's lost ships have returned safely to port, bearing great riches. Duke of Venice - Presides over the trial of Antonio. Although the Duke attempts to persuade Shylock to show Antonio mercy, he knows that Venice's CHARACTERS commercial interests depend on a consistent application of its laws, so he can't make an exception to help Antonio. Shylock - A Jewish moneylender in Venice who has been embittered by years Old Gobbo - Launcelot's blind father. of abuse at the hands of Venetian Christians and Antonio, the merchant, in Tubal - A Jew in Venice, and Shylock's sole friend and confidante during the particular. Shylock's anger and bitterness lead him to sign a contract with course of the play. Antonio, in which Antonio puts up a pound of his own flesh as collateral for a Doctor Bellario - Portia's cousin and a well-respected lawyer in Padua. He loan. When Antonio can't cover his loan, Shylock refuses to show any mercy never appears on stage. and insists that the law be upheld and that he get to take his pound of flesh. The other characters, including Shylock's own daughter, Jessica, consider him Balthazar - The servant Portia sends to obtain her letters of introduction and inhuman—bestial or demonic. However, their treatment of Shylock helps costume from Bellario. Balthazar is also the name Portia takes when she illuminate the prejudice and hypocrisy that lies behind many of their stated impersonates a lawyer at court. ideals of human brotherhood and Christian fellowship. Antonio - A prosperous Venetian merchant, liked and admired by his fellow THEMES citizens. To help his friend Bassanio woo Portia, Antonio signs a contract with Shylock, guaranteeing a loan with one pound of his own flesh as collateral. Many critics argue that Antonio harbors an unrequited erotic desire for PREJUDICE AND INTOLERANCE Bassanio. In contrast to the benevolence that he shows others, Antonio The Venetians in The Merchant of Venice almost uniformly express extreme expresses an intense hatred of Shylock and the Jews, though at the end of the intolerance of Shylock and the other Jews in Venice. In fact, the exclusion of play he does argue that Shylock should be shown mercy and not be these "others" seems to be a fundamental part of the social bonds that cement condemned to death. the Venetian Christians together. How otherwise would the ridiculous clown Portia - A beautiful, clever, and wealthy noblewoman who lives in the country Launcelot ingratiate himself with the suave Bassanio? Or why would the estate of Belmont, outside Venice. Portia is bound by a clause in her father's sensitive Antonio tolerate someone as crass as Gratiano? It is possible to will, which obligates her to marry whoever solves the so-called riddle of the argue that Shakespeare himself shares his characters' certainty that the Jews caskets, by choosing the correct chest from one of gold, one of silver, and one are naturally malicious and inferior to Christians because of Shylock's ultimate of lead. After despairing over a parade of suitors whom she finds distasteful, refusal to show any mercy at all and, as a result, his pitiful end. Portia does get to marry her true love, Bassanio, who happily makes the Yet there are also reasons to think that Shakespeare may be subtly criticizing correct choice. She also saves Antonio's life, during his trial with Shylock, the prejudices of his characters. Shylock's fury comes not from some malicious dressed up as a lawyer named Balthazar. For centuries, Portia was admired as "Jewishness" but as a result of years of abuse. For example, though he is an ideal of feminine virtue. However, many modern critics have pointed out criticized by Antonio for practicing usury (charging interest on borrowed that Portia, though seemingly a genius and a perfect wife, regularly displays a money) Jews were actually barred from most other professions. In other vicious prejudice toward non-Christians and foreigners. words, the Christians basically forced Shylock to work in a profession that the Bassanio - A nobleman from Venice, who is a kinsman, close friend, and Christians then condemned as immoral. Shylock insists that he "learned" his longtime debtor of the merchant, Antonio. Because he wants to woo the noble hatred from the Christians, and it is Shylock alone who argues that all of the Portia, but cannot himself afford to do so, Bassanio borrows 3000 ducats characters are the same, in terms of biology and under the law. Viewed this from Shylock, with Antonio as his guarantor. His status as Portia's suitor and, way, The Merchant of Venice offers a critique of the same prejudices that it later, her husband, makes Bassanio the romantic hero of the play. However, his seemingly endorses? character is deeply flawed. At best clueless, and at worst consciously selfish and manipulative, he always manages to avoid earning his own way: first, he HUMAN AND ANIMAL exploits the generosity of his friend Antonio, and then he freely passes on the Closely related to the theme of prejudice and intolerance is the theme of money and gifts that Portia gives him. humanity—and the inhumanity of which various characters accuse one Gratiano - A notoriously vulgar Venetian and friend of Bassanio. While another. In insulting and abusing Shylock, the Venetians frequently denigrate Bassanio courts Portia, Gratiano falls in love with and eventually marries her him as an animal or devil. Shylock, in turn, seeks to reduce his debtor Antonio servant, Nerissa. to the status of an animal whose body can be bought or sold. In the courtroom scene, he justifies his purchasing of a pound of Antonio's flesh as being

Characters www.LitCharts.com | @litcharts ©2014 | Page 2 The Merchant of Venice fundamentally similar to the way in which other Venetians might buy slaves or The play also stages "scenes of interpretation"—in which the act of reading livestock. becomes a dramatic event. The first major instance, connected to the themes Shakespeare was writing The Merchant of Venice as a philosophical movement of both law and love, is when the Prince of Morocco becomes the first suitor called "Renaissance humanism" became prominent. This philosophy defined to try to solve the riddle of the caskets, with major consequences for both humans as exceptional beings, existing outside of the chain of being of God's Portia and himself depending on whether he interprets it correctly. This other creatures. Yet, The Merchant of Venice shows how this type of humanism scenario repeats with both the Prince of Aragon and Bassanio. The can be used to abuse outsiders. After all, if being "human" ceases to be based courtroom scene, in which Portia must find an alternative way to read and on biology, then exactly who is human and who isn't becomes a matter of understand the law in order to save Antonio's life, similarly turns an act of interpretation. The play's Christian characters clearly believe that being interpretation into a highly dramatic game with very high stakes. The Merchant Christian is a primary requirement for being human, as both the insults aimed of Venice shows how the practice of reading (and not just reading literature) is at Shylock and the Prince of Morocco suggest. In his famous speech justifying woven into the structures of prejudice and intolerance, love, law, and his desire for revenge in 3.1, Shylock explicitly rejects the humanist definition justice—how it is central to everyday life. of "humanity," describing his similarity to the Venetians in terms of biological LOVE AND FRIENDSHIP functions that all human beings share: tickling, eating, bleeding, dying. Constant references in the play to "flesh and blood" further highlight humans' In connection with mercy and generosity, The Merchant of Venice also explores biological, "animal" origins.. love and friendship between its characters. The central romantic relationship of the play is that between Bassanio and Portia. Their marriage is paralleled by LAW, MERCY, AND REVENGE several others: the elopement of Shylock's daughter, Jessica, with the Both the central action of The Merchant of Venice—Shylock's attempt to Christian, Lorenzo; and the marriage of Portia's servant, Nerissa, to revenge himself on the Christian Antonio—and the romantic Bassanio's companion, Gratiano. In addition, numerous critics have suggested subplot—between Bassanio and Portia—explore the relationship between that the strongest friendship in the play—between Antonio and law, mercy, and revenge. Bassanio—also approaches romantic love. In addition, the play shows how strong the amicable ties are that connect all the various Venetian characters. Shakespeare's contemporary, the philosopher Francis Bacon, defined revenge as a "kind of wild justice." When one private individual decides to revenge Given the generosity that they motivate between characters, love and himself on another, he is going outside the official justice system. And yet, as friendship might seem to offer alternatives to the ugly emotions of prejudice, the phrase "wild justice" suggests, the revenger is responding to what he sees greed, and revenge on display in The Merchant of Venice. However, beginning as a "higher law." The revenger takes the law into his own hands when he feels with Bassanio's borrowing money from his friend Antonio in order to woo that the state is not capable of or refuses to enforce justice. Therefore, while Portia, the play also demonstrates that the apparent purity of love and law and revenge are technically opposed to each other, since revenge is illegal, friendship can be tainted by selfish economic concerns. In addition, love and they also overlap. Shylock, pursuing Antonio's "pound of flesh," exposes the friendship are also at the mercy of the law, as seen in Portia's being subject to intimate connection between law and revenge. He seeks vengeance against the terms of her father's riddle of the caskets. Antonio precisely by sticking to the letter of the law within the Venetian justice system. SYMBOLS In the courtroom scene of Act 4, scene 1, both the Duke and Portia present mercy as a better alternative to the pursuit of either law or revenge. Shylock STONES, RINGS, AND CASKETS explicitly refuses to show mercy, while the Christians, in sparing Shylock's life in the end, claim that they have. Yet, when they do, Shylock himself asks to be When Shylock raves about the "stones" that Jessica has stolen from him, part killed. He says that, having had all of his possessions confiscated and his of the joke is that in the Renaissance "stones" was a slang word for the religious identity revoked (which would also make it impossible for him to testicles. And indeed Shylock's only child's renouncing her father, eloping, and work as a money-lender, since Christians were not allowed to practice usury), converting to Christianity is symbolically tantamount to castrating him, cutting he has nothing left to live for. The question of who is or is not merciful, off his family name. Multiple characters undergo kinds of symbolic castration therefore remains open. throughout the play. Antonio, who seems not to expect to marry or have children, refers to himself as a "wether," or neutered ram. Portia's suitors, who GREED VS. GENEROSITY vow never to seek other wives, also forfeit their ability to produce heirs. The primary grievance that Antonio has against Shylock is that he is The chests that Portia's suitors must open, like the rings that she and Nerissa greedy—for charging interest to those who borrow money from him when give their husbands to safeguard, none-too-subtly evoke the female genitalia. they are in need. The Venetians implicitly contrast Shylock's greed with the In the final scene, when ortiaP and Nerissa pretend to have slept with the generosity that they show one another. For instance, Antonio is willing to lawyer and the law clerk to whom their rings were given, they make this place his whole "purse and person" at Bassanio's disposal and regularly saves connection explicit. By using precious objectsand, in the case of the stones and other Christians from having to pay interest to Shylock by paying off their the rings, objects of commercial exchangeto stand for human sex, Shakespeare debts for them. links the supposedly pure spheres of love and marriage to the play's exploration of money and greed. It seems that, like love or mercy, generosity is limitless, unbounded. However, The Merchant of Venice also frequently begs the question of whether friends aren't using friends, or lovers their lovers, for materialistic reasons. For QUOTES instance, why is the perpetually indebted Bassanio so intent on wooing the rich Portia? And as Portia's and Nerissa's anger over the rings that their husbands give away in the final scene reflects,v e en the freest gift-giving ACT 1 QUOTES comes with strings attached, like the rules governing Shylock's more frankly In sooth, I know not why I am so sad. (1) capitalistic contracts. READING AND INTERPRETATION Instances of reading and interpretation occur many times in The Merchant of I hold the world but as the world, Gratiano— Venice. An early scene in which Shylock and Antonio bicker over the meaning A stage, where every man must play a part; of Biblical scripture shows that the all-important distinction between Jews And mine a sad one. (77–79) and Christians basically boils down to interpretive differences—different ways of reading and understanding a shared heritage of texts.

In my school-days, when I had lost one shaft, All things that are, I shot his fellow of the selfsame flight Are with more spirit chased than enjoy'd. (12–13) The selfsame way, with more advised watch, To find the other forth; and yb adventuring both, I oft found both. (140–144) But love is blind, and lovers cannot see The pretty follies that themselves commit. (36–37)

They are as sick that surfeit with too much, as they that starve with nothing. (5–6) All that glisters is not gold. (65)

When he is best, he is a little worse than a man; and when he is worst, he is little better than a beast. (89) ACT 3 QUOTES If it will feed nothing else, it will feed my revenge. (54)

I dote on his very absence. (110)

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 My meaning in saying he is a good man, is to have you understand me that he is weapons, subject to the same diseases, healed by the same means, warmed sufficient. (17) 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. (58–68) 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. (37)

The villainy you teach me I will execute, and it shall go hard, but I will better the instruction. (73) The devil can cite Scripture for his purpose. (98)

If he lose, he makes a swan-like end, Many a time and oft Fading in music. (44–45) In the Rialto you have rated me About my moneys and my usances: Still I have borne it with a patient shrug, For sufferance is the badge of all our tribe. Tell me where is fancy bred, You call me misbeliever, cut-throat dog, Or in the heart or in the head? And spit upon my Jewish gaberdine, How begot, how nourished? And all for use of that which is mine own. (106–113) Reply, reply. It is engender'd in the eyes, With gazing fed; and fancy dies In the cradle, where it lies. When did friendship take Let us all ring fancy's knell; A breed for barren metal of his friend? (133–134) I'll begin it – Ding, dong, bell. (63–71)

Let the forfeit There is no vice so simple but assumes Be nominated for an equal pound Some mark of virtue in his outward parts. (81–82) Of your fair flesh, to be cut off and taken In what part of your body pleaseth me. (148–151)

The seeming truth which cunning times put on To entrap the wisest. (100–101) ACT 2 QUOTES Mislike me not for my complexion, The shadow'd livery of the burnish'd sun. (1–2) ACT 4 QUOTES We all expect a gentle answer, Jew! (34)

In the twinkling of an eye. (167)

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 oury law! The man that hath no music in himself, There is no force in the decrees of Venice. Nor is not moved with concord of sweet sounds, I stand for judgement: answer; shall I have it? (99–103) 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. (83–88) I am a tainted wether of the flock, Meetest for death: the weakest kind of fruit Drops earliest to the ground. (114–116) We will answer all things faithfully. (299)

I never knew so young a body with so old a head. (163–164) SUMMARY & ANALYSIS Which is the merchant here, and which the Jew? (174) ACT 1, SCENE 1 On a street in Venice, the merchant By emphasizing that he doesn't know the Antonio tells his friends Solanio and cause of his sadness, Antonio creates The quality of mercy is not strain'd, Salerio that he feels "so sad" (1.1.1) mystery around his character—mystery It droppeth as the gentle rain from heaven but doesn't know why. Salerio that demands that other characters Upon the place beneath. It is twice blest: proposes, with Solanio's agreement, "interpret" what's wrong with him. Some It blesseth him that gives and him that takes. that Antonio must be worried about critics feel that Antonio's forceful denial 'T is mightiest in the mightiest: it becomes his ships at sea. But Antonio insists that his sadness has anything to do with The throned monarch better than his crown; that he's confident his ships are safe. love actually hints that it does have to do His sceptre shows the force of temporal power, Then, Salerio guesses, Antonio must with love. Salerio's conclusion that The attribute to awe and majesty, be in love. Antonio dismisses this Antonio's mood is simply a whim, which Wherein doth sit the dread and fear of kings; possibility at once. Salerio concludes, can be changed by changing perspective, But mercy is above this sceptred sway, jokingly, that if Antonio is neither further underscores how different It is enthroned in the hearts of kings, worried about his investments, nor interpretations can create vastly It is an attribute to God himself; melancholy because of lovesickness, different outcomes. And earthly power doth then show likest God's, then he must simply be "sad because When mercy seasons justice. Therefore, Jew, [he] is not merry" (1.1.47–8). Salerio Though justice be thy plea, consider this, advises him to shake off his bad mood That in the course of justice none of us because it would be just as easy "to Should see salvation: we do pray for mercy; say you are merry because you are not And that same prayer doth teach us all to render sad" (1.1.49–50). The deeds of mercy. (184–202) Bassanio, a relative and close friend of Polite manners cement friendly Antonio's, enters with his friends relationships between the noblemen of Lorenzo and Gratiano. After politely Venice. My deeds upon my head! I crave the law, greeting the newcomers, Solanio and The penalty and forfeit of my bond. (206–207) Salerio exit.

Lorenzo and Gratiano announce that Antonio's comment about the stage and they must depart, but will see that it is his "part" to be sad indicates A Daniel come to judgment! yea, a Daniel! (223) Bassanio again at dinner. Before that there is some mysterious aspect of leaving, though, Lorenzo notes that his personality that ensures his sadness. Antonio looks unwell. Antonio Gratiano's crass jokes reveal him to be responds that, on the "stage" of the less sensitive—despite the fact that he's a Nay, take my life and all; pardon not that: world his part is to be "sad" noble Venetian. Throughout the play, his You take my house when you do take the prop (1.1.78–9). Gratiano interrupts that bad manners raise the question about That doth sustain my house; you take my life he would rather play the happy role of who is civilized and who is not. When you do take the means whereby I live. (374–377) a "fool" (1.1.79) and teases Antonio, telling him to lighten up. Lorenzo reproaches Gratiano for talking too much and repeats that they will rejoin Art thou contended Jew? (393) Bassanio for dinner. They exit. Once alone, Bassanio apologizes for That Bassanio needs cash to woo Portia Gratiano's insensitivity and reveals introduces a connection between love why he's come to see Antonio. He is in and money that will persist throughout ACT 5 QUOTES love with Portia, a wealthy the play. That he already owes Antonio noblewoman, and hopes to seek her money hints that he is willing to use his hand in marriage. However, he lacks friend for material purposes. the financial means to do so. He has many debts he must clear before he can woo her, including debts to Antonio.

Antonio replies that he will do Bassanio's ulterior motives contrast with Nerissa asks Portia whether she For the first time Nerissa and ortiaP anything for his friend and is happy to the pure devotion and generosity of remembers a Venetian man who once show some hopefulness about a place both his "purse" and his "person" Antonio's friendship. In fact, Antonio acts came—Bassanio. Portia does, fondly. prospective suitor. But, confronted with at Bassanio's disposal. Though so selflessly toward Bassanio that many Just then, a servant enters. He the prospect of Morocco, Portia again Antonio has no cash available at the critics argue that Antonio is actually in informs Portia that the suitors who demonstrates her bleak outlook about moment because he's invested love with Bassanio. These critics think have been at Belmont are departing her marriage. She also gives a hint of everything in his ships currently at Antonio's sadness results from his and that the Prince of Morocco is ethnic prejudices she will later reveal sea, he says that Bassanio can use his unrequited love. coming that night. Portia remarks that more fully. "credit" (Antonio's known wealth and she's happy to see the others go, but good reputation) in order to get a loan that she would rather be murdered from someone else in Venice. than marry a man with the "complexion of a devil." ACT 1, SCENE 2 At her estate in Belmont, near Venice, Like Antonio in the first scene, ortiaP ACT 1, SCENE 3 Portia complains to her servant complains to her trusted friend about Back in Venice, Bassanio is trying to Even in this brief exchange, Shylock Nerissa that she's "aweary of this being sad. Nerissa, like Salerio, first offers convince Shylock, a Jewish shows that he interprets the world great world" (1.2.1–2). Nerissa a materialistic explanation—Portia is moneylender, to lend him 3,000 through a different framework than observes that to be rich and have depressed by having too much money ducats for three months, with Bassanio: he understands "good" as everything, as Portia does, is just as and possessions. Antonio bound to repay the debt. meaning "having enough money" depressing as having nothing: it would Frustrated by Shylock's stalling, whereas Bassanio, in theory, values other be better if she could choose to live a Bassanio demands an answer. Shylock "good" qualities in his old friend. (Though more moderate, ordinary life. concedes that Antonio is a "good man" Bassanio also, clearly, appreciates (1.3.16)—that is, Shylock believes Antonio's money.) Portia replies that in fact she's Portia has more concrete grounds for Antonio will be good for the money frustrated by her total lack of control being depressed: her father's will has that Bassanio wants to borrow. over her romantic situation. Portia entrapped her in a legal contract that Therefore, after a little more waffling, and Nerissa discuss this situation: leaves her with no control over her love he accepts the terms that Bassanio Portia's dead father specified in his life. The will gambles her whole fate on has proposed. will that she couldn't choose her own the—as yet, mysterious—riddle of the husband. Instead, when he died, caskets, which her suitors must interpret. Shylock then asks whether he can By distinguishing between business Portia's father left behind a riddle. speak with Antonio himself. Bassanio activities and his private life, and by Anyone who wants to marry Portia invites Shylock to dine with them both refusing Bassanio's offer to share a meal, must choose one of three "caskets" that night, but Shylock declines. Shylock shows that he has religious (chests), each marked with a clue. One Although he will do business with differences that set him apart from the is made of gold, one of silver, and one Christians, he explains, it would go Christian Venetians. of lead. Only the man who chooses against his religious principles to eat the correct casket can take Portia as or drink or pray with them. his bride. By coincidence, at this moment, Shylock reveals his prejudice against Nerissa asks what Portia thinks of the Portia's speeches show that she's witty Antonio appears. Although Shylock Christians and explains the way in which foreign princes who have come to woo and self-possessed, but also cruel and notices Antonio at once, at first he he has experienced anti-Semitic her so far. Nerissa lists their names, prejudiced—as well as materialistic, on ignores him, remarking privately that prejudice himself. Notably, both groups' and Portia mocks them one by one. occasion (for instance, when she rejects he harbors an "ancient grudge" ideas of the other revolve around ideas of The Neapolitan? He reminds her of a the Scottish lord for not having enough (1.3.47) towards the "Christian" commerce: the Christians believe it is horse. The prince from Palatine? money). Dismissing her German suitor as (1.3.42). Shylock explains to the wrong to practice usury (lending money Humorless. The Frenchman? Boring. a "beast," she also makes the first of a audience that he hates Antonio for interest), whereas the Jews—who The British Baron? Too ignorant even number of animal insults that occur because he "lends out money gratis" were forbidden by law from engaging in to speak to Portia, knowing neither throughout the play, usually applied to (1.3.44), or free of interest, thereby most other professions—often resorted Latin, Italian, nor French—and badly Shylock and used by the Venetians to bringing down interest rates for to usury as a way to make a living. Being dressed, to boot! The Scottish lord? question the humanity of Jews. Yet, professional moneylenders such as treated badly has given Shylock a desire Didn't even have enough money to despite her frustration, Portia will remain himself (who are almost all Jews). for revenge. come on his own; he had to borrow within the legal framework willed to her. More importantly, Antonio has from the Englishman. The German repeatedly insulted the Jewish people Duke's nephew? A drunk who is "little in general and Shylock in particular. better than a beast" (1.2.89). Nerissa Shylock is determined to get revenge observes that, in any case, Portia is on Antonio not only for himself, but safe because none of these suitors has also for his "tribe" (1.3.51). agreed to try his hand at the riddle. Portia resolves, in turn, that, despite Antonio approaches Shylock, saying After stating his "Christian" business her frustration, she will obey her that he ordinarily would not take part principles (and denigrating the Jews' father's decree. in a transaction involving interest but principles), Antonio publicly declares that, this one time, he will break his that there are no limits to what he will do personal principle in order to help his for Bassanio. friend. Shylock agrees to lend Bassanio the money.

Summary & Analysis www.LitCharts.com | @litcharts ©2014 | Page 6 The Merchant of Venice Shylock then defends his practice of Citing the Book of Genesis, Shylock ACT 2, SCENE 1 charging interest by citing the Biblical shows how different interpretations are story of Jacob. When Jacob was the basis of his religious and personal At Belmont, the Prince of Morocco Anticipating the prejudices that Portia working as a shepherd for his uncle differences with the Christians. The has arrived to seek Portia's hand in and the other Christian Venetians hold, Laban, Shylock reminds Antonio, he Christians believe that usury is immoral marriage. He begs her not to dislike Morocco's talk of skin color and red found a clever way to earn interest for because it is unnatural to breed money him just because of his dark skin, and blood reduces human beings to meat, his efforts. He cut a deal with Laban in from money. But Shylock interprets the points out that his blood is just as red recalling the pound of flesh Shylock which he got to keep any sheep that Bible to say that charging interest is no as that of the "fairest" European. He wants from Antonio. At the same time, were born with a "streaked" color. different than Jacob's breeding of adds that he has proven himself brave Morocco's words establish a basis for Then he employed a magic trick to get animals, which Christian law would and won the love of many of the most equality among all people. all the sheep to breed streaked lambs, permit as totally natural. desirable virgins in his native country, which he was, by contract, entitled to and would only ever wish to change keep for himself. Shylock defends this his appearance in order to please kind of behavior, similar to his own, as Portia. representing "thrift" (1.3.90) rather Portia reminds Morocco that what Based on Portia's mocking of all of than theft. she wants is irrelevant. The riddle of Nerissa's other suitors in 1.2, her Outraged that Shylock would cite the Shylock reveals the years of abuse he has the caskets, devised by her father, has seeming compliment to Morocco is Bible in order to defend what received from Antonio and other deprived her of the right to choose actually a sarcastic quip. Yet Morocco Venetian Christians consider to be the Venetian Christians as the source of his her husband. Besides, she adds, if she can't know this, showing that sin of usury, Antonio insults Shylock. desire for revenge. By noting that did have any say in things, she would interpretation is a matter of context. Shylock, in turn, cites Antonio's Antonio is not his friend, he shows that hold Morocco in just as high esteem previous mistreatment of him: this abuse has made it clear to him that as any other suitor who has come for Antonio has publicly abused him many he is an outsider to the polite society of her thus far. times and even spat upon his clothing. Venetian friends on display in 1.1. Morocco rejoices, and asks Portia to Portia's explanation of the terms of her Why, Shylock asks, should he lend to Antonio, for his part, openly declares bring him to the caskets so he might father's riddle shows the strict legal Antonio as freely as he would to a Shylock to be an enemy. try his fortune. Portia reminds him structure of the riddle. By cutting off the relative or friend? Enraged, Antonio that he must abide by even the scene here, before Morocco chooses a begins to insult Shylock again. There is harshest rule governing the riddle: if casket, Shakespeare makes Morocco's no need to pretend to be friends, he he chooses incorrectly, he must eventual reading and interpretation of says: lend money to him as to an "never speak to lady afterward/ in way the riddle much more dramatic and enemy. of marriage" (2.2.41-2). Morocco suspenseful. Morocco, unlike the other Teasing Antonio for getting so worked The contract Shylock proposes is hard for assures her that he understands and suitors, proves his valiance in his up, Shylock then goes on to propose the Christians, and a modern audience will obey this harsh rule. The two willingness to risk so much for Portia's an unusual compromise. He says that, or reader, to understand. By trading in proceed to dinner. love. this time, he will not charge interest flesh, atherr than making money "breed" on his loan. However, if Antonio by usury, Shylock is actually adopting the defaults on the loan and is unable to Christians' stated business principles but pay, Shylock will be entitled to cut one directing them toward a monstrous end, ACT 2, SCENE 2 pound of Antonio's flesh from any part which mocks those Christian principles of Antonio's body that Shylock in turn. Launcelot Gobbo, Shylock's servant, Launcelot, a kind of clown character, chooses. is debating whether to leave his finds himself in a moral dilemma. On the master. Jabbering to himself, he one hand, he has his conscience, which imagines that a "fiend" is urging him to pushes him toward obedience to Shylock, Antonio agrees, despite Bassanio's For the first time, Bassanio shows some run away, while his conscience his master. On the other is his prejudice, nervousness about binding his friend scruples about putting his greed before instructs him to remain. Launcelot which he describes as a kind of fiend, and to such a potentially dangerous his friend—who, by agreeing to put a finds himself in a quandary. He feels which sees Jews as devils. contract. Talking to himself, Shylock price on his pound of flesh and( his life) obligated to stay with his master; yet gleefully hints at the fact that he has has become like an animal headed to he thinks it cannot be right to achieved the first step in his still- slaughter. Antonio will not be held back continue serving a Jew whom he mysterious plan for revenge. But in his generosity, and by signing the considers "the very devil incarnation" Antonio remains unconcerned: he is contract agrees to be bound by law. So (2.2.26). sure his ships will return, with three Shylock's revenge plot starts moving into Launcelot has just resolved to leave This scene of cruelty, in which a child times 3000 ducats, at least one month action. Shylock for good when his father, the abuses his parent, foreshadows how before Shylock's deadline. blind Old Gobbo, appears. Gobbo Shylock's daughter, Jessica, will abandon asks Launcelot whether he knows the him. It also makes Gobbo's blindness an way to Shylock's house. Amused that interpretive handicap: he literally cannot his father has not recognized him, see things. Launcelot decides to play a prank on him by giving him bad directions. Then Launcelot plays an even crueler trick: he tells Gobbo that his son has died. Only when Gobbo exclaims with grief does Launcelot reveal himself.

Summary & Analysis www.LitCharts.com | @litcharts ©2014 | Page 7 The Merchant of Venice After some confusion, Gobbo accepts Launcelot speaks of flesh and ACT 2, SCENE 4 that Launcelot is indeed his "own blood—that is, man's animal being—as flesh and blood" (2.2.88). Gobbo then the basis for being related. Launcelot On the street in Venice, Gratiano, Unlike Portia, and her suitors who follow asks his son how he is doing; also brings up an important question Lorenzo, Salerio and Solanio discuss her father's legal dictates, by eloping Launcelot reveals that he's decided to about identity: Can one become a Jew, or Lorenzo's plan to elope with Jessica Lorenzo and Jessica circumvent typical go work for Bassanio before he is is Jewishness inborn and inescapable. that night, before the dinner at legal structures to get married. entirely corrupted by Shylock's Bassanio's. They are interrupted when influence: "I am a Jew if I serve the Launcelot enters, carrying Jessica's Jew any longer," (2.2.106–7) he says. letter. At this moment, Bassanio arrives with Prejudice against Jews is used to cement Reading the letter, Lorenzo is Jews were typically depicted as darker Lorenzo and several followers. bonds between Venetians of different overjoyed and remarks that Jessica's than Europeans. Notice how Lorenzo Launcelot and Gobbo seize the social classes. It seems unlikely that "fair hand" is "whiter than the paper it describes Jessica, who will betray her opportunity and beg Bassanio to Bassanio would have hired Launcelot writ on" (2.4.12). When Launcelot father and fellow Jews, as white. He employ Launcelot so that he can away from another Christian. Launcelot reports that he is headed back to his seems to believe that Jewishness is more escape Shylock's service. Once he seems to feel no bond to Shylock despite former master, Shylock's, house, to an aspect of personality than biology. figures out what they're asking, having served him for years. invite Shylock to dinner on behalf of Bassanio readily accepts. Rushing off, his new master, Bassanio, Lorenzo Launcelot assures Bassanio that he asks Launcelot to secretly bring will "take leave of the Jew in the Jessica the message that Lorenzo will twinkling of an eye" (2.2.167) and will not fail her. Launcelot agrees. not even say farewell to Shylock. Once Launcelot has left, Lorenzo and It turns out that Jessica will not only As Launcelot is leaving, Gratiano By applying the animal word "wild" to the others make plans to put on a fake abandon her father and avoid the enters. He asks to accompany Gratiano, when most animal abuses are "masque" (costumed show) as a cover traditional legal framework for getting Bassanio to Portia's estate at directed at Shylock, Shakespeare to hide the elopement. Salerio and married, she is also going to rob her Belmont. Bassanio agrees, but with narrows the gap between Venetians and Solanio exit, leaving Lorenzo and father to provide herself and her the condition that Gratiano must Jews. That Bassanio is willing to take Gratiano alone. Lorenzo then tells husband with money. As in Bassanio's control his infamous "wild behavior" Gratiano on as a companion, despite his Gratiano that Jessica's letter suit of Portia, romantic conquest and (2.2.178) to prevent it from reflecting evident bad behavior, shows the strength contained instructions on how to help commercial gain are mingled. They all badly on Bassanio. Gratiano teasingly of social bonds among Venetian her escape from her father's house, seem to think that stealing from a Jew is assures his friend that he will "put on a Christians. where she has stolen gold and jewels no big deal. sober habit" and "swear but now and from Shylock to take with them. then" (2.2.180–1). Gratiano then says Jessica, Lorenzo concludes, will flee he must go see Lorenzo, but that he with them tonight, costumed as his will come to Bassanio's house for torchbearer. supper. ACT 2, SCENE 5 ACT 2, SCENE 3 On the street in front of his house, Though the Christians seem to think At Shylock's house, Launcelot bids Identifying the defector Launcelot as her Shylock reprimands Launcelot for nothing of owing loyalty to a Jew, farewell to Shylock's daughter, ally in her own home, Jessica deserting him, and warns Launcelot Shylock believes differently. Just as Jessica. Jessica says that she will miss immediately shows "Venetian"-style that Bassanio will be a harsher master Antonio overlooked his religious him—his presence helped make her prejudice against her own group—the than he has been. Then he summons principles to make a deal with Shylock, life at home more tolerable. Then, she Jews—and hints at the disloyalty and Jessica. Having informed her that he now Shylock overlooks his religious gives him a letter and asks him to pass betrayal to which she will subject her is going to dinner with Bassanio in principles and heads to dinner at it on secretly to Bassanio's friend own father. spite of himself, he instructs her to Bassanio's because of business. Lorenzo at dinner that night. Tearful lock up and keep an eye on the house. at having to leave her, Launcelot takes He has had a dream that there will be the letter. trouble tonight. After Launcelot departs, Jessica Jessica's reflections on what it means to Launcelot slyly jokes that Shylock will Launcelot, who is in on Jessica and worries that her shame at being her be someone's child call into question the in fact see a "masque" that night. Lorenzo's scheme to elope, can make father's child is a sin. Yet, she reflects, division between animal and human Irritated and not knowing what jokes with her that her father is unable to she is daughter only to his "blood" traits—that is, "blood" versus "manners." Launcelot is talking about, Shylock understand. As Christians (or, in Jessica's (2.3.18); she does not share his Her blithe betrayal of her father also brushes him off and repeats that case, soon-to-be Christians), they're "manners" (19). Then, she reveals why casts some doubt on Jessica's character, Jessica should lock the doors and not insiders while the Jewish Shylock is an she sent the letter with Launcelot: despite the affection that the Christians look out onto the street. In an aside, outsider. Lorenzo has promised that he loves show for her. Launcelot says that Jessica should her and wants to marry her. If he look out the window—a Christian will keeps his vows, she vows that she will come by who will be worth a Jew's convert to Christianity and become eye. Lorenzo's wife. After Shylock and Launcelot leave, Jessica reflects that betrayal can sever Jessica remarks that, if all goes family ties. From this perspective, family according to her plan, she will have connections are a matter of relationship lost a father and he will have lost a and legal actions rather than blood. daughter.

Summary & Analysis www.LitCharts.com | @litcharts ©2014 | Page 8 The Merchant of Venice ACT 2, SCENE 6 ACT 2, SCENE 8 As planned, Gratiano and Salerio Gratiano, the Venetian nobleman, again On the street in Venice, Salerio and In addition to exhibiting more of the arrive at Shylock's house in their displays his basic vulgarity, casually Solanio gossip about Jessica and Venetians' prejudice against Shylock, this costumes with the other members of commenting that he thinks this Lorenzo's elopement and Bassanio's scene reemphasizes the connection Lorenzo's party—only Lorenzo is late. relationship between Lorenzo and departure for Belmont to woo Portia. between a woman's value and money, by As they wait for Lorenzo, Gratiano Jessica may run out of steam even as They laugh about Shylock's desperate placing "daughter" and "ducats" next to crassly explains his belief that lovers Jessica prepares to forsake everything for search for Jessica. Upon learning that each other. Shylock's crying for justice are most interested when they're Lorenzo's love. Jessica had eloped and stolen his also shows the turning point where he chasing their beloved, and tend to lose money, Shylock cried "My daughter! O will really start to push for revenge interest after the wooing has been my ducats! O my daughter! / Fled with against the Christians through their own successful and the relationship a Christian!" (2.8.15–6) again and court system. consummated. again. Salerio adds that all the boys in Venice now follow Shylock imitating When Lorenzo arrives, he makes a While Jessica expects to lose her father his anguished refrain, demanding: joke about his "father Jew" (2.6.25) and Jewishness through marriage, "Justice, the law, my ducats, and my and calls out to Jessica. Jessica Lorenzo's joke implies that escaping one's daughter!" (2.8.17). quickly passes the promised casket of family is not so easy. Jessica lowering the gold and jewels down to Lorenzo. money from the same window she uses Their tone suddenly grows somber, Struggling to make out the truth of Then she herself descends from the to escape, makes the equation between though, when Solanio remarks that rumors and hearsay, Salerio and Solanio same window, dressed as his torch- marriage and wealth all the more explicit. Antonio may be the one who ends up anticipate that these events will give bearer. She is embarrassed to be paying for Shylock's loss. Salerio force to Shylock's desire for justice and "transformed to a boy." But Lorenzo reports that he has heard rumors that revenge against their friend. assures her that she looks beautiful a Venetian ship has been wrecked. He and urges her to hurry—they are worries it is one of Antonio's. Solanio expected at Bassanio's. urges him to tell Antonio, but to break the news gently. As Jessica, Lorenzo, and the other The rollicking "masque" joins up with the "masqueing mates" head out into the somber Antonio to enjoy Bassanio's Solanio says of Antonio, "a kinder Solanio and Salerio describe Antonio as street, Antonio intercepts them. He hospitality. gentleman treads not the earth." He uniquely generous, and identify that scolds Gratiano for being late to adds that when Bassanio departed for generosity as arising from his love for Bassanio's dinner. They all hurry off Belmont, he overheard Antonio tell Bassanio. They also convey the intensity toward Bassanio's house. Bassanio not to worry about the of Antonio's love for Bassanio, further money he had borrowed, but only to raising the question of whether that love ACT 2, SCENE 7 think of his courtship of Portia. is romantic or platonic. At Belmont, Portia shows the Prince The interpretation of the text that makes Solanio remarks that Antonio "only of Morocco the three caskets. The up the riddle of the caskets is analogous loves the world for" Bassanio (2.8.50). first is gold and bears the words "Who to Shylock and Antonio's competing They set off to find Antonio and chooseth me, shall gain what many readings of Genesis in 1.3 and distract him from his sadness at men desire" (2.7.5). The second, silver, foreshadows Portia's own legal Bassanio's departure. bears the words "Who chooseth me, interpretations in 5.1 shall get as much as he deserves" ACT 2, SCENE 9 (2.7.7). The third, lead, bears the The Prince of Aragon has arrived at One again, Shakespeare goes to great words "Who chooseth me, must give Belmont to try his hand at the riddle length to emphasize the legal and hazard all he hath" (2.7.8). of the caskets. Portia tells the Prince ramifications of the riddle. If he should the rules of the riddle: if he chooses "interpret" incorrectly, the Prince will be Morocco nervously and painstakingly Shakespeare prolongs the scene of riddle- the casket that contains her portrait, unable to produce an heir. He will forfeit ponders the caskets and their words. decoding—which he has built up since they will be married immediately; if he his future. He rereads and debates the meaning Morocco's first appearance in fails, he must depart without another of each, deciding, ultimately, that it 2.1—making it a dramatic, as well as word. Aragon adds that he is bound by must be the gold because that casket interpretive act, all for the sake of love. oath to three further conditions: (1) promises "what many men desire." The metallic character of the caskets also never to tell anyone which casket he After hesitating a moment longer, implicitly links the themes of love and chose; (2) never to seek the hand of Morocco settles on the gold casket. greed. When he chooses incorrectly, any other woman in marriage, if he Portia hands him the key and tells him Morocco is forced to suffer the legal fails; and (3) to leave immediately, if he that if her picture lies inside, she will consequences of incorrect interpretation. fails. Portia confirms that anyone who be his wife. Morocco opens the casket, wants to woo her must agree, in hopefully, but finds only a skull with a advance, to each of these terms. scroll stuck in one of its eye sockets. He reads its contents aloud. It is a poem, reproaching him for his choice: "All that glisters is not gold / Often you have heard that told," it chimes. It concludes: "Fare you well, your suit is cold." Devastated, Morocco leaves. After he Portia's prejudice surfaces again. is gone, Portia snidely remarks that she hopes that "all of his complexion choose [...] so" (2.7.79).

Aragon puzzles over the inscriptions As was the case in 2.7, Shakespeare Solanio then asks whether Shylock In 1.3, Shylock argued that charging on the three chests. He rejects the extends the actual scene of has heard any more news of Antonio's interest is just like breeding sheep. Now lead one ("Who chooseth me, must interpretation, making it suspenseful and losses at sea. Shylock says he has, and Shylock explicitly states that his desire give and hazard all he hath") because dramatic. And once again, the struggle to ominously adds that Antonio can look for revenge will involve manipulating a he refuses to give or hazard anything determine whether gold, silver, or lead forward to the "extraction" of his legal obligation (the "bond," or contract) for something so ugly and plain. He will lead to love explicitly links love and bond. Solanio can't believe that in order to treat Antonio like a piece of also rejects the gold one ("Who greed (or commerce), which also Shylock would really want a pound of meat, an animal carcass, that is used as chooseth me shall gain what many appeared together in the course of Antonio's flesh, but Shylock affirms food. men desire") because he thinks only Jessica's elopement. that he wants it to "feed" his "revenge" someone who looks skin deep would (3.1.54) on Antonio for mocking him, take that one and he refuses to be like causing him to lose money, and "many men." Finally, he turns to the insulting the Jewish "nation" (3.1.50). silver one: "Who chooseth me shall get as much as he deserves" (36). He Shylock goes on to say that a Jew has Shylock argues that what he's notes how much better the world "hands, organs, dimensions, senses, doing—using the legal system to would be if every man only took what affections, passions" and is "fed with persecute the Christian Antonio—is he deserved, and asks for the key. the same food, hurt with the same exactly what the Christians have done to weapons, subject to the same him and to all Jews, which is true. And in Portia gives it to him. But when While the scene has much the same diseases, healed by the same means, arguing for the justice of his revenge, Aragon unlocks the casket, inside he effect as Morocco's disappointment in warmed and cooled by the same Shylock denies any distinction between finds a "portrait of a blinking idiot" and 2.7, there is an important difference: winter and summer as a Christian is" Christians and Jews. They're all humans, a rhyme that mocks him as a fool and now Portia—and the audience—know (53–7). If you prick a Jew, he'll bleed, if he argues, based on their identical instructs him to leave Belmont. which casket is the correct one: the lead. you tickle him he'll laugh, if you poison animal functions: bleeding, dying, etc. Embarrassed and disappointed, him, he'll die. It follows, just as Shylock treats the need for revenge as Aragon departs, remarking that he will logically, Shylock argues, that if you another animal need. keep his oath and patiently bear the wrong a Jew, he will seek revenge, just fate that he has earned. He exits with as a Christian would. Shylock his entourage. promises to use the same "villainy" that the Venetian Christians "teach," As Portia and Nerissa draw a curtain Having echoed the frustration and sense and to beat them at their own game. in front of the caskets, a messenger of powerlessness that she expressed in enters with the news that a young 1.2, Portia shows her first ealr glimpse of One of Antonio's servants enters and The Jews Shylock and Tubal share a Venetian has arrived at the gate to excitement with Bassanio's arrival. announces that Antonio would like to camaraderie that is similar to that share announce the arrival of a lord who has see Solanio and Salerio. As they leave, by the Venetian Christians. Jessica's sale come bearing "gifts of rich value" and Tubal, a Jewish friend of Shylock's of her mother's ring marks her as is a "likely ambassador of love." Portia enters. Tubal has been searching for unfaithful to her family's past, and is very excited. Nerissa sighs that she Jessica in Genoa, and has heard suggests that Jessica is willing to sell her hopes the Venetian is Bassanio. rumors of her, but has been unable to virginity (rings often symbolized female find her. Shylock rants against his genitalia) for animal lust (the monkey). It ACT 3, SCENE 1 daughter, and bemoans his financial also foreshadows what will happen when Solanio and Salerio discuss the Though Shylock and Antonio have made losses. He is especially bitter when Portia and Nerissa give rings to their unlucky events that have befallen a perfectly legal contract, the Christians Tubal reports that Jessica has taken a husbands later in the play. Antonio. It is rumored that another of see Shylock's actions as "cruel." The ring—given to Shylock by a woman Antonio's ships has been wrecked. scene also suggests that weeks or named Leah, presumably Jessica's Solanio and Salerio worry that months have passed since the end of Act mother—and has traded that ring for a Antonio will be ruined because of the 2. monkey. "cruel bond" (contract) that Antonio Shylock is somewhat consoled, Shylock again insists that he will have his has made with Shylock. Just then, though, when Tubal reminds him that revenge on Antonio by enforcing the legal Shylock himself appears. Antonio has lost another of his ships contract they have signed. The Jews' Shylock accuses Solanio and Salerio In 2.3:, Jessica pondered whether you at Tripolis, and "is certainly undone" agreement to meet at the synagogue, of having helped Jessica elope from are related to someone because you (3.1.124). Shylock announces that he implies that the Jews and Christians of his house. They boast that, indeed, share blood or because you share similar will take his pound of flesh from Venice occupy separate social spaces. they did help. Shylock damns them. "manners." Shylock here argues that Antonio's heart if Antonio forfeits on When Solanio says that Jessica was "flesh and blood" are the true measure of his loan. He then tells Tubal to go and old enough to choose her own relatedness. But Solanio and Salerio's meet him later at the synagogue. husband and leave home, Shylock response that the beautiful "white" responds that, no, she is his "flesh and Jessica is completely unlike the "black" ACT 3, SCENE 2 blood" (3.1.33) and should have Shylock indicates that they believe one's In Belmont, Portia begs Bassanio to Portia is so strictly bound by the legal stayed. Salerio taunts him that there is manners, or even one's willingness to be delay before making his choice among rules in her father's will, that she must "more difference between thy flesh Christian, define elatedness.r the caskets. If he chooses incorrectly, abide by whatever happens even if it and hers than between jet (a deep she will lose the pleasure of his means that she loses the man she loves. black stone) and ivory" (3.1.34–5). company. Though she refuses to break the terms of her father's riddle of the caskets, she confesses that if it were up to her she would give herself to him entirely. Bassanio, though, is tortured by the uncertainty of waiting, and convinces her to let him try the riddle.

Portia instructs that music should be The last word of every line in the song Portia asks Bassanio whether Like Antonio before her, Portia shows played so that, if Bassanio chooses rhymes with "lead." Portia has found a Antonio is a dear friend. When generosity toward Bassanio, out of love. incorrectly, he will at least make a way to clue Bassanio in to the right Bassanio affirms that he is, ortiaP However, like Shylock, she also gives "swan like end." The song commences: answer without breaking the rules of the offers to pay the three thousand Bassanio a price, as if he were an animal. "Tell me where is Fancy bred, / or in riddle of the caskets. Whether Bassanio ducats that he owes 20 times over. the heart, or in the head..." Bassanio picks up on the clue is unclear, but this is She then asks to see the letter. stands before the caskets debating his not the last time that Portia displays a choice for some time. First he rejects keen legal mind. Bassanio reads the text aloud. In it, Antonio's letter confirms the depth and gold: "hard food for Midas, I will none Antonio confesses to that there is no intensity of his feelings for Bassanio. His of thee" (3.2.102); then silver, "pale chance that he will survive Shylock's last request—to see Bassanio before he and common drudge 'tween man and extracting of the pound of flesh. dies—sounds like that of a lover, rather man" (3.2.103–4). Finally, Bassanio However, Antonio insists tells that all than that of a friend. chooses lead. debts between himself and Bassanio are cleared. He has only one request: Bassanio opens the lead casket. Just as Jessica converted to Christianity to see Bassanio before he dies. Inside, he finds a painting of Portia for Lorenzo, Portia describes her entire Bassanio hastily prepares to depart. and a poem praising the wisdom of his self, and all her wealth and belongings, as choice. Bassanio turns to Portia, converted to Bassanio. Love is connected ACT 3, SCENE 3 insisting that he must also have her both to transformation and economic consent, if they are to marry. Portia ownership. With his metaphor of Back in Venice, Shylock escorts Shylock here admits that he is acting like reassures him: "Myself, and what is speaking to Portia with the blood in his Antonio to prison, accompanied by a an animal. But he insists that he is doing mine, to you and yours / Is now veins, Bassanio connects love to the jailer and Solanio. Shylock tauntingly so because he has been forced into it by converted" (3.2.166–7). As a symbol description of humans as animals that tells the jailer not to have any mercy the Christian's own harsh and unfair confirming her love, she gives him a Shylock used to define human beings in on Antonio, who is a fool who "lent out treatment of him. They force him to act ring, with which he must promise 3.1. money gratis." Antonio begs Shylock like a dog, then complain when he bites. never to part. Bassanio is almost too for mercy, but Shylock cuts him off: happy to speak: "Only my blood," he "thou call'dst me dog before thou tells her, "speaks to you in my veins" hadst a cause, / but since I am a dog (3.2.176). beware my fangs" (3.3.6–7). Nerissa and Gratiano, who have been Along with Jessica and Lorenzo, Antonio gives up on asking for mercy. By paying off the debts of others, watching, express their joy. Gratiano, Gratiano and Nerissa provide a second He knows that Shylock wants revenge Antonio stopped Shylock from collecting seizing the moment, asks Bassanio for parallel to the love between Bassanio on him because he has paid off the interest. He thinks Shylock's anger stems permission to marry, confessing that and Portia. In this case, love comes off debts of so many people who owed only from monetary loss. he has already fallen in love with looking rather superficial—or, at the very Shylock. Nerissa. Nerissa confirms that she least, abrupt. loves Gratiano as well. Bassanio declares that the four of them will Solanio assures Antonio that the Antonio recognizes that Shylock has the share a wedding. Duke won't allow Shylock's demand to law on his side. Notice that while be carried out. Antonio disagrees: Venetian Christians look down on Lorenzo and Jessica enter with The ugly reality of Shylock's revenge "The Duke cannot deny the course of foreigners, their city's wealth also relies Salerio. Bassanio and Portia welcome plot—and Bassanio's debt to law," (3.3.26) or else he will discredit on the trade of those "strangers," so the them. Salerio explains that he is Antonio—disrupt the idyllic love scene. the justice of the state of Venice. Such law must take precedence over the carrying a letter from Antonio for an action, in turn would offend the Venetian's prejudices. Bassanio. Gratiano and Nerissa many diverse "strangers" (3.3.27) continue to flirt and joke cluelessly as upon whom the commerce of the city Bassanio begins reading. depends. Bassanio gets increasingly upset as he For the first time, everyone, including Antonio jokes that he has grown so Antonio's resignation to his fate, and reads the letter. He tells Portia about Bassanio, seems to process the horrible thin in his stress and grief that it will even his thinness, makes him a Christ the money he allowed Antonio to reality of the revenge plot. Salerio, hardly be possible to cut a pound of figure. Christ also went willingly, gently, borrow from Shylock and of Antonio's speaking for the other Venetians, flesh from him. Then, he urges the to his death on the cross. lost ships. Salerio curses Shylock's condemns Shylock for his bestial quality: jailer on. If Bassanio comes to see him brutality: "Never did I know a creature because he wants to do something so pay his debt, Antonio says, he does not that did bear the shape of man so keen cruel, they think he's not even human, care whether he dies or not. and greedy to confound a man" but only a "creature." The abuse that (3.2.274–5)," and comments that Christians typically hurl at the Jews, ACT 3, SCENE 4 Shylock has been begging the Duke to however, does not occur to them as give him justice. Jessica pipes in that bestial at all. Jessica's comment implies Back at Belmont, after Bassanio's Out of love, Portia sets a price of 3000 when she was with her father she that Shylock is consumed by the desire hasty departure, Lorenzo and Portia ducats on Antonio's life, much as Shylock heard him say that "he would rather for revenge. are chatting. Lorenzo reassures Portia did earlier, out of hate. Lorenzo recalls have Antonio's flesh / than twenty that if she knew what a "true the strong character of friendship that times the value of the sum / that he gentleman" (3.4.6) Antonio is, she many Venetians seem to feel toward did owe him." All agree that unless would only be more proud of her good Antonio. "law, authority, and power" (3.2.288) deed. Portia replies that she never can find a way to deny Shylock his regrets doing good. She adds that if vengeful desire, Antonio is in trouble. Bassanio loves Antonio so much, they must be alike. If so, 3000 ducats is a small sum for the purchase of his life.

Portia then asks Lorenzo whether he In 2.6, Lorenzo and his friends dressed Shylock insists that he wants his Accused of being inhuman himself, and Jessica will manage her estate, as up in order to help Jessica escape "bond," and that if the Duke refuses Shylock now compares Antonio to she has vowed to live in prayer and Shylock's house so that she could marry him it will make a mockery of Venice various animals. contemplation in a monastery outside Lorenzo. Now, out of love for Bassanio and its entire justice system. Shylock Belmont for as long as Bassanio is and Bassanio's friends, Portia and refuses to explain why he wants a gone. Lorenzo agrees. He and Jessica Nerissa will also dress up in an effort to pound of flesh atherr than money. He exit. Portia then asks her servant, outwit Shylock. says that some men do not like pigs, Balthazar, to take a letter to her some do not like cats, and that he does cousin, Doctor Bellario, in Padua. She not have to explain himself any further tells Balthazar that Bellario will give than by saying that he hates Antonio. him some documents and clothing, and that Balthazar should bring these Bassanio, who is in the gathered Again, the Christians insult the Jews as with all possible speed to Venice. crowd, tries to argue with Shylock. animals. In the case of Shylock, it is true Balthazar exits. Next, Portia tells But Antonio interrupts, telling that his heart can't be softened. He Nerissa that they will dress up as Bassanio it's no use: you might as well wants revenge! But the Christians don't young men and see their future try to argue with a wolf as try to recognize that their own abuse and husbands while they are in disguise. soften Shylock's hard "Jewish heart" institutional prejudice fuel Shylock's rage. Nerissa is confused. Portia promises (4.1.80). Bassanio offers Shylock twice to reveal the entirety of her plan in the the 3000 ducats that is owed to him. coach that is already waiting outside Shylock retorts that he wouldn't to take them to Venice. accept six times that amount. The Duke asks how Shylock can The Duke introduces "mercy" as an ACT 3, SCENE 5 expect mercy if he himself doesn't alternative to either "justice" or At Belmont, Launcelot quotes the old Launcelot again brings up the question of show it. Shylock replies that he needs "revenge." Shylock, however, sticks by his saying that the sins of fathers are Jewishness, and implies that being a Jew no mercy because he's done no claim that he has the law on his side: he visited on their children, and teases is a matter of "blood," and can't be wrong. He comments that the has bought Antonio for money, just like that he is worried that Jessica is escaped. Jessica counters that Venetians assembled have purchased other Venetians buy the flesh of animals damned unless it turns out that Jewishness is a matter of "manners," and slaves, asses, dogs, and mules; and just and slaves. Shylock is not actually her father. says she can be "saved" from Jewishness as those creatures belong to their Jessica retorts that her marriage to by marriage and conversion. owners, Antonio's pound of flesh Bassanio will save her. Lorenzo belongs to Shylock, who has enters, and scolds Launcelot for purchased it. having gotten a Moorish servant The Duke announces that he has When Bassanio finally offers a self- pregnant. Launcelot responds with a asked a wise lawyer, Doctor Bellario, sacrificing gesture, Antonio immediately series of puns, then exits to prepare to come and help judge the case. overrides it. By referring to himself as a dinner. Salerio reports that a messenger has castrated ram, he casts doubt upon his Lorenzo asks Jessica what she thinks The Venetian Christians compare Jews come bearing letters from Bellario, sexual potency and his potential ability of Portia. Jessica replies that she finds to animals and the devil. Jessica, a and goes to get him. Privately, to marry or father children, further Portia more perfect than she can former Jew, compares the Christian Bassanio urges Antonio to try to keep supporting the claim that he may be in express, and compares her to a god or Portia to an angel or god. Given this his spirits up, but Antonio responds love with Bassanio. angel. In reply, Lorenzo jokes that he is exchange, it seems hard to defend the that he is like the "tainted wether" just as good a husband as Portia is a play from the charge that it displays (castrated ram) in a flock of sheep and wife. Then they head to dinner. some anti-Semitism of its own. that Bassanio should aspire not to die for Antonio, but to live and write Antonio's epitaph. Nerissa enters, disguised as a lawyer's After once again being insulted as an ACT 4, SCENE 1 clerk. She presents a letter to the animal, Shylock insists that the law be Duke from Bellario. Meanwhile, carried out. As he sees it, he is doing no In Venice, the Duke opens Antonio's The Duke's "inhuman wretch" remark is Shylock wets his knife in anticipation worse than the Christians do. Their laws trial by saying that he pities Antonio the first of many instances in this court of a verdict in his favor and Gratiano restrict his life in countless ways, now his because Shylock is an "inhuman scene in which Shylock will be described curses Shylock as an "inexecrable dog," contract with Antonio restricts Antonio's wretch uncapable of pity" (4.1.3–4). as a non-human. Antonio's gentleness is whose "desires are "wolvish, bloody, life. The Duke has attempted to persuade contrasted with Shylock's refusal to be starved and ravenous" (138). Shylock Shylock to spare Antonio, but Shylock swayed from enacting his revenge. calmly replies that he has the law on will not. Antonio replies that he is his side. prepared to suffer Shylock's rage with quiet dignity. The Duke summons Shylock into A "gentile" is a non-Jew. The Duke's pun court, and tells him that everyone on "gentle Jew'" is an insistence by the believes that he means only to terrify Christian court that Shylock show what Antonio with this performance, and is believed to be the non-Jewish trait of that, at the last minute, Shylock will Christian mercy. show mercy, spare Antonio, and forgive his debt. "We all expect a gentle answer Jew!" (4.1.34) the Duke says.

The Duke reports that Bellario has When the play was first staged, the actor Portia asks Antonio for any last Antonio, Bassanio, and Gratiano, take recommended that the court hear the playing Shylock would have been words. Antonio tells Bassanio not to their friendship and generosity to opinion of a young and learned lawyer, costumed in a red wig with a prosthetic grieve, to send his best wishes to extraordinary, and, as Portia's quip named Balthazar, who has studied the nose, looking nothing like the Venetian Portia, and to speak well of Antonio points out, even ridiculous levels. case with Bellario and knows his characters. In this context, Portia's after his death. Bassanio and Gratiano Shylock's surprise at hearing these opinion. Portia enters, disguised as question about who is the merchant and respond that to save Antonio's life, Christian men say that they are willing to Balthazar. The Duke greets her and who is the Jew would probably be played they would willingly sacrifice their sacrifice their wives increases the sense asks whether she is familiar with the as a joke. But in modern times, it reads as own lives and the lives of their wives. that, in some respects, he may deserve facts of the case. Portia replies that evidence of Antonio and Shylock's In their disguises as Balthazar and his more sympathy than the Christian she is. "Which here is the merchant? shared humanity. clerk, Portia and Nerissa quip that it's Venetians do. For instance, think of And which the Jew?" (170), she asks. a good thing Bassanio and Gratiano's Shylock's tender sadness when he Antonio and Shylock come forth wives aren't present as it's unlikely learned that Jessica had first stolen and together. they would be pleased by such then sold Leah's ring. sentiments. Privately, in an aside, Portia tells Shylock that Venetian law Portia makes a stronger case for mercy Shylock comments in surprise at the is indeed on his side. Therefore, she as an alternative to either justice or nature of Christian husbands, who begs him to show mercy, "an attribute revenge than the Duke did. But Shylock would so willingly allow their own to God himself" (4.1.191) that rejects what Portia has described as an wives to be killed. He wishes his "seasons justice" (4.1.192). She attribute of the Christian god, insisting daughter had taken a husband from repeats: rather than insisting upon instead on a strict legal interpretation of "any of the stock of Barrabas (a Jewish justice, she says, Shylock should show his contract in order to get vengeance. bandit) ...rather than a Christian" mercy. Shylock rejects her request: "I (292–3). Then, aloud, Shylock crave the law" (4.1.202), he says, and demands the court stop wasting time. insists upon having the pound of flesh. Portia agrees. Portia asks if Antonio has the money In running through the conditions and But just as Shylock is about to cut into Portia beats Shylock at his own game: to repay Shylock. Bassanio responds possibilities of the case, Portia echoes Antonio, Portia reminds Shylock that she interprets the law even more literally that he has offered up to ten times the the suitors trying to figure out the riddle the contract doesn't grant him any than Shylock ever did, and in doing so sum of money owed, but Shylock of the caskets. She is treating the law drop of blood from Antonio's body: she finds a loophole she can use to refuses to accept it. Bassanio begs much like a riddle, as something to be "the words expressly are 'a pound of rescue Antonio. that in this case the law be bent to interpreted. By citing Daniel as a Jewish flesh'" (303). She adds that if, in taking save Antonio's life. Portia responds forefather (who, incidentally was his pound of flesh, Shylock sheds "one that the law may not be bent: if she set renamed Balthazar upon moving to drop of Christian blood" (4.1.306), the precedent that judges could Babylon), Shylock is basing his actions in then, following the law of Venice, all create exceptions for particular cases, a specifically Jewish set of beliefs and his lands and goods will be confiscated then chaos would ensue. Shylock interpretations. and given to the city. praises Portia, comparing her to Daniel, the famous judge in the Shylock, stunned, quickly backtracks, Shylock insisted that he wants the law, Hebrew Bible. Portia asks to see the and decides to take Bassanio's prior and Portia makes sure that he sticks contract. Shylock shows her. Portia offer of 9000 ducats. Bassanio is exactly to the contract. again advises Shylock to take the ready to accept, but Portia stops him. money—three times the amount She says: Shylock wanted justice and Shylock is owed—that Bassanio has he will have it. Shylock must take offered him. Shylock refuses. exactly a pound of flesh but without shedding any blood: if he takes any Portia states that Shylock is entitled Portia, repeatedly calling for Shylock to more or less, he will be put to death to take a pound of flesh nearest show mercy, finds that each time he and all his property confiscated. Antonio's heart. She begs him, once wants to insist on the most literal Shylock asks if he really won't get back more, to be merciful. Shylock again interpretation of the law. Antonio, even his initial 3000 ducats. Portia refuses. Portia instructs Antonio to meanwhile, instructed to bare himself to replies that he will get nothing but bear his chest for Shylock's knife and be cut open, begins to resemble a Christ- exactly what the contract specified. asks whether a scale is ready to weigh like figure or sacrificial lamb even more the pound of flesh. Shylock has fully. Shylock says that he will give up his Now the tables have been turned on brought scales. Portia recommends suit. But, Portia tells him that another Shylock. He was advised to practice that they bring a surgeon on hand to Venetian law holds that if an "alien" mercy but insisted on the law. Now he try to save Antonio from bleeding to (4.1.344) is proven to have sought the must beg for mercy rather than a strict death after the cut has been made. life of any "citizen" (4.1.346), that interpretation of the law. Shylock refuses on the grounds that citizen has the right to take one half of there is no such provision in their the alien's property. The other half is contract. confiscated and given to the state, while the alien's life lies at the mercy of the Duke. Therefore, she advises Shylock to beg for mercy from the Duke.

Stepping in, the Duke declares that he Both the Duke and Antonio, lessen the Gratiano enters, carrying the ring Portia's gift of the ring came out of love. will show Shylock the "difference of force of Portia's law and show Shylock from Bassanio. He tells Portia that Now Bassanio has given the ring out of our spirit" (4.1.364). He will spare relative generosity. However, in forcing Bassanio has sent the ring and asks friendship. Generosity and gift giving Shylock's life, but Shylock must give him to convert, they are stripping him of him to join them at Antonio's house introduce economics into the realms of half of his wealth to Antonio and half his identity as a Jew and forcing him to for dinner. Initially startled, Portia love and friendship. to the state of Venice. Portia then give up his occupation, because recovers her composure. She takes asks Antonio to weigh in. Antonio says Christians may not practice usury. In the ring and tells Gratiano to thank that the state should renounce its other words, they reduce him to nothing Bassanio for it, but declines the claim to its half of Shylock's property; more than the bare animal self he invitation to dinner. Then she asks him Antonio will use his half during his life described in 1.3. to show Nerissa to Shylock's house. and grant it to Lorenzo and Jessica after his death. Shylock, for his part, In an aside, Nerissa tells Portia that Nerissa also joins in the ring subplot: this must convert to Christianity and leave she will try to trick her husband into will be the main thread of the play after all his wealth to Lorenzo and Jessica. giving her his ring. Amused, Portia the climax of the trial. In looking forward looks forward to hearing their to the men's excuses for giving away their When the Duke accepts these Having shown gracefulness throughout husband's excuses when they return rings, Portia implicitly contrasts conditions, Portia mockingly most of the scene, here Portia becomes a to Belmont without their rings. Bassanio's flighty behavior with her demands: "Are you contended, Jew?" bit nastier, as she was when discussing Nerissa leaves with Gratiano. obedience of her father's will. Shylock concedes that he is. Portia her suitors with Nerissa. Gratiano, too, tells the clerk to draw up a deed. shows his typical bile. The gracious Shylock says he feels unwell—they Christians suddenly seem less gracious. should send the deed after him and he ACT 5, SCENE 1 will sign it. As he leaves, Gratiano snarls that he's lucky: if it were up to Lorenzo and Jessica lounge in moonlit While the setting seems idyllic and full of Gratiano, he would have been sent to Belmont. Trying to outdo each other, love, if you read between the lines the the gallows, not to a baptism. they flirt, comparing themselves to references actually suggest the perils of famous lovers of classical legend: love: things end badly for each of the The Duke asks Portia, still disguised Here, the hospitality and friendly Troilus and Cressida, Pyramus and couples named. as Balthazar, to dinner. She declines generosity that Act 1 suggested was Thisbe, Dido and Aeneas, and Medea on the grounds that she must get back typical among Venetian Christians, and Jason. to Padua. Antonio and Bassanio also emerges again. Bassanio has already thank Portia. Bassanio tries give promised that he would sacrifice ortiaP A messenger enters with news that The rush of messengers begins the Portia the 3000 ducats he'd brought to save Antonio. Now Portia puts Portia will be back before daybreak reconciliation and conclusion scene that to pay off Shylock, but Portia refuses. Bassanio in a similar position, pitting his from the monastery. He asks to know will end with the marriages of the major Bassanio insists that Portia take some generosity against his love for her, by whether Bassanio has returned yet. characters. Lorenzo's commentary on gift as a token of thanks. Finally, Portia asking Bassanio to give up the ring he Lorenzo says that they have received the stars and the music of the spheres says she'll take Antonio's gloves and promised to keep in order to thank the no word for him. Launcelot enters, indicates that be believes that the Bassanio's ring. Bassanio hesitates. person who saved Antonio's life. with news that Bassanio will be back universe is beautiful and ordered by a He says the ring is worthless and he'll before morning. Lorenzo tells the divine law, and suggests that the dark buy a more expensive one. Portia servants to prepare for Portia's forces of anger and brutality, which persists, and Bassanio admits that the arrival, and to bring out music for Shylock represents, have been tamed. ring is a gift from his wife that he has Jessica and him to enjoy in the sworn not to give up. Portia responds meantime. While they listen, and that this is a convenient excuse and Lorenzo rhapsodizes about the that as long as Bassanio's wife isn't beauty of the night and the music of crazy, she'll understand. the spheres (music generated by the After Portia and Nerissa exit, Antonio By giving away the ring—a symbol of movement of the stars), which, he tells Bassanio that he should value Bassanio's fidelity to ortiaP and of female says, can tame even wild beasts. Balthazar's efforts to save Antonio's genitalia—and heading home with Portia and Nerissa approach Belmont, Portia's comment about the beauty of life more than his wife's orders, and Antonio, for one final night together and Portia admires the candlelit her estate in the moonlight seems to be should give up the ring. Bassanio gives before his return to his bride and new beauty of the estate, saying: "How far the exact opposite of Lorenzo's. While in. He sends Gratiano ahead with the home, Bassanio hints that he might that little candle throws his beams! / Lorenzo sees the world as naturally good, ring and tells him to take it to share some of Antonio's apparent So shines a good deed in a naughty Portia sees it as naturally "naughty." Balthazar. Bassanio and Antonio head homoerotic desire. world" (5.1.89–90) As the music dies Once she reaches the castle, Portia off to Antonio's house to rest for the down, Lorenzo recognizes Portia's begins to coordinate the last stages of night before returning to Belmont. voice and welcomes her home. She her dramatic trick involving the rings, asks whether Bassanio and Gratiano reminiscent of how she coordinated the ACT 4, SCENE 2 have yet returned. Lorenzo replies casket-picking scene and the scene in the that they have not, but that a courtroom. Portia, still dressed as "Balthazar," Portia's remark on Lorenzo's luck in messenger has come to announce that instructs Nerissa, still dressed as the inheriting Shylock's wealth once again they are coming soon. Portia sends pageboy, to go to Shylock's house and mixes money and financial incentives Nerissa into the house to instruct the bring the deed for him to sign, giving with love. servants not to give any sign of their half of his property to Antonio. Then having been absent. She tells Lorenzo they will have to speed to get back to and Jessica that they, too, must keep Belmont before their husbands. Portia this secret to themselves for the time comments that the deed spells good being. news for Lorenzo, who is now going to inherit all of Shylock's wealth, not just what he and Jessica managed to steal.

At that moment, Bassanio, Antonio, Now that Antonio's trial is over, Portia's Portia accepts the deal. She hands As in the casket scene, and the court and Gratiano enter. Portia welcomes hospitality renews the bonds of Antonio the ring, which she pretends scene, Portia once again coordinates and Bassanio home; Bassanio introduces friendship between the Christian is a different ring, and tells him to give manages the other characters so that Antonio and asks her to "give Venetians. Portia word play regarding the it to Bassanio and to tell Bassanio not they end up interpreting things the way welcome" to the friend to whom he is word "bound" references the theme of to lose it. When he sees the ring, she wants them to. This time, she gets "so infinitely bound" (5.1.133–5). reading and interpretation that Bassanio is stunned to see that it's the Bassanio and Gratiano to believe that Welcoming Antonio, Portia jokes that dominated the casket and courtroom same one he gave to the lawyer! their failure to keep their oaths resulted she hopes Bassanio is only scenes. Portia explains that she got it from in their wives' infidelity. However, after metaphorically bound to him because, that very lawyer by sleeping with him, having her fun, Portia starts to wrap last she has heard, Antonio was bound and asks for her husband's pardon. things up, neatly reinstating the to his friend by a very dangerous Nerissa does the same, explaining to customary boundaries of legal contract indeed. Gratiano that she got her ring back by marriage—faithfulness, fidelity, and so sleeping with the clerk the previous on. Nearby, Nerissa and Gratiano begin This final trick draws attention to the night. But before the shocked to argue over Gratiano's missing ring. dimension of exchanging gifts, a kind of husbands can get too angry, Portia Gratiano swears to Nerissa that he economy that lies beneath supposedly interrupts. She hands over a letter gave the ring to a judge's clerk. Portia spontaneous love (of the kind that from Bellario in Padua, explaining that asks what's wrong. Gratiano replies Jessica and Lorenzo were talking about Portia was the lawyer who appeared that his wife is overreacting. Nerissa at the beginning of this scene). As in in the Venice courtroom, and Nerissa insists that it is not the value of the other scenes of interpretation, the clerk. She calls upon Lorenzo to ring but the fact that he broke his oath Shakespeare draws the process of testify to the fact that she has only to keep it that upsets her. Portia joins discovery out for dramatic effect. just returned. He does. in reprimanding Gratiano; she says, she gave her love such a ring as well, Portia also has a letter for Antonio To modern audiences, the Christian and made him swear never to part with even better news: three of his characters' delight at just how fully they with it, and she is sure he never would. ships have suddenly come to harbor, have plundered the ruined Shylock may Gratiano blurts out in protest that full of riches. Then, Portia tells seem a bit distasteful in this otherwise Bassanio did give his ring away, to a Lorenzo that her clerk—Nerissa—has happy scene. It reflects how strongly judge who had earned it, and asked for good news for him as well. Nerissa their prejudices persist. it. reports: she has a deed from Shylock, leaving all of his property to Lorenzo Bassanio admits it is true. Portia The ring subplot really starts to take and Jessica when he dies. pretends to be furious. She swears shape. The women's lie that they slept that she will never go to bed with with the judge and law clerk to regain the Finally Portia encourages everyone to By ending on Gratiano's crude sexual Bassanio until she sees the ring. rings makes the sexual connotations go into the house to hear the full joke (the ring as a symbol for the vagina), Despairing, Bassanio tries to defend about rings (as symbols of female explanation of all these events. the play hits a comic final note but also himself and beg Portia's forgiveness, genitalia) more explicit. And once again, Gratiano jokes that he is not sure calls into question how admirable the but Portia stays firm. She insists that when Bassanio is in trouble, Antonio whether Nerissa wants to go to bed "good" characters in this play really are. she will give everything she has, offers everything to help him. This time for two hours, or stay up and wait for How are their glee at destroying Shylock including her body, to the man who Antonio offers his soul in exchange for the next night: he himself cannot wait and their crude sexual jokes any better has the ring. Nerissa vows to Bassanio's happiness, echoing his earlier to sleep with the doctor's clerk. For than Shylock's love of money and thirst Gratiano that she will do the same. deal with Shylock in which he offered his "while I live," he finishes, "I'll fear no for revenge? Bassanio continues to plead for body in exchange for Bassanio's other thing / So sore, as keeping safe forgiveness. He says, if Portia will only happiness. Nerissa's ring" (5.1.306–7). forgive him this once, he will never again break an oath with her. Antonio supports Bassanio, saying that he will be bound for his friend once more, and offer his soul as collateral because he is so certain that Bassanio will never again deliberately betray Portia.