Summary: Act I, scene i

Antonio, a Venetian merchant, complains to his friends, Salarino and Solanio, that a sadness has overtaken him and
dulled his faculties, although he is at a loss to explain why. Salarino and Solanio suggest that his sadness must be
due to his commercial investments, for Antonio has dispatched several trade ships to various ports. Salarino says it
is impossible for Antonio not to feel sad at the thought of the perilous ocean sinking his entire investment, but
Antonio assures his friends that his business ventures do not depend on the safe passage of any one ship. Solanio
then declares that Antonio must be in love, but Antonio dismisses the suggestion.

The three men encounter Bassanio, Antonio’s kinsman, walking with two friends named Lorenzo and Gratiano.
Salarino and Solanio bid Antonio farewell and depart. When Gratiano notices Antonio’s unhappiness and suggests
that the merchant worries too much about business, Antonio responds that he is but a player on a stage, destined to
play a sad part. Gratiano warns Antonio against becoming the type of man who affects a solemn demeanor in order
to gain a wise reputation, then he takes his leave with Lorenzo. Bassanio jokes that Gratiano has terribly little to say,
claiming that his friend’s wise remarks prove as elusive as “two grains of wheat hid in two bushels of chaff”
(I.i.115–116). Antonio asks Bassanio to tell him about the clandestine love that Bassanio is harboring. In reply,
Bassanio admits that although he already owes Antonio a substantial sum of money from his earlier, more
extravagant days, he has fallen in love with Portia, a rich heiress from Belmont, and hopes to win her heart by
holding his own with her other wealthy and powerful suitors. In order to woo Portia, however, Bassanio says he
needs to borrow more money from Antonio. Antonio replies that he cannot give Bassanio another loan, as all his
money is tied up in his present business ventures, but offers to guarantee any loan Bassanio can round up.

Summary
Analysis

On a street in Venice, the merchant Antonio tells his friends Solanio and Salerio that he feels

"so sad" (1.1.1) but doesn't know why. Salerio proposes, with Solanio's agreement, that Antonio
must be worried about his ships at sea. But Antonio insists that he's confident his ships are safe.
Then, Salerio guesses, Antonio must be in love. Antonio dismisses this possibility at once.
Salerio concludes, jokingly, that if Antonio is neither worried about his investments, nor
melancholy because of lovesickness, then he must simply be "sad because [he] is not merry"
(1.1.47–8). Salerio advises him to shake off his bad mood because it would be just as easy "to
say you are merry because you are not sad" (1.1.49–50).
By emphasizing that he doesn't know the cause of his sadness, Antonio creates mystery around
his character—mystery that demands that other characters "interpret" what's wrong with him.
Some critics feel that Antonio's forceful denial that his sadness has anything to do with love
actually hints that it does have to do with love. Salerio's conclusion that Antonio's mood is
simply a whim, which can be changed by changing perspective, further underscores how
different interpretations can create vastly different outcomes.
ACTIVE THEMES

RELATED QUOTES WITH EXPLANATIONS

Bassanio, a relative and close friend of Antonio's, enters with his

friends Lorenzo and Gratiano. After politely greeting the newcomers, Solanio and Salerio exit.
Polite manners cement friendly relationships between the noblemen of Venice.
ACTIVE THEMES

Lorenzo and Gratiano announce that they must depart, but will see Bassanio again at dinner.

Before leaving, though, Lorenzo notes that Antonio looks unwell. Antonio responds that, on the
"stage" of the world his part is to be "sad" (1.1.78–9). Gratiano interrupts that he would rather
play the happy role of 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 Bassanio for dinner.
They exit.
Antonio's comment about the stage and that it is his "part" to be sad indicates that there is some
mysterious aspect of his personality that ensures his sadness. Gratiano's crass jokes reveal him to
be less sensitive—despite the fact that he's a noble Venetian. Throughout the play, his bad
manners raise the question about who is civilized and who is not.
ACTIVE THEMES

RELATED QUOTES WITH EXPLANATIONS

Once alone, Bassanio apologizes for Gratiano's insensitivity and reveals why he's come to

see Antonio. He is in love with Portia, a wealthy noblewoman, and hopes to seek her hand in
marriage. However, he lacks the financial means to do so. He has many debts he must clear
before he can woo her, including debts to Antonio.
That Bassanio needs cash to woo Portia introduces a connection between love and money that
will persist throughout the play. That he already owes Antonio money hints that he is willing to
use his friend for material purposes.
ACTIVE THEMES

RELATED QUOTES WITH EXPLANATIONS

Download
Antonio replies that he will do anything for his friend and is happy to place both his "purse" and
his "person" at Bassanio's disposal. Though Antonio has no cash available at the moment
because he's invested everything in his ships currently at sea, he says that Bassanio can use his
"credit" (Antonio's known wealth and good reputation) in order to get a loan from someone else
in Venice.
Bassanio's ulterior motives contrast with the pure devotion and generosity of Antonio's
friendship. In fact, Antonio acts so selflessly toward Bassanio that many critics argue
that Antonio is actually in love with Bassanio. These critics think Antonio's sadness
results from his unrequited love.
ORIGINAL TEXT MODERN TEXT
Enter ANTONIO, SALARINO, and SOLANIO
ANTONIO
In sooth, I know not why I am so sad.
It wearies me; you say it wearies you.
But how I caught it, found it, or came by it,
What stuff ’tis made of, whereof it is born,
5I am to learn.
And such a want-wit sadness makes of me,
That I have much ado to know myself.
SALARINO
Your mind is tossing on the ocean,
There, where your argosies with portly sail,
10Like signors and rich burghers on the flood—
Or, as it were, the pageants of the sea—
Do overpeer the petty traffickers
That curtsy to them, do them reverence
As they fly by them with their woven wings.
SOLANIO
15Believe me, sir, had I such venture forth,
The better part of my affections would
Be with my hopes abroad. I should be still
Plucking the grass to know where sits the wind,
Peering in maps for ports and piers and roads.
20And every object that might make me fear
Misfortune to my ventures out of doubt
Would make me sad.
SALARINO
    My wind cooling my broth
Would blow me to an ague when I thought
What harm a wind too great at sea might do.
25I should not see the sandy hourglass run,
But I should think of shallows and of flats
And see my wealthy Andrew docked in sand,
Vailing her high top lower than her ribs
To kiss her burial. Should I go to church
30And see the holy edifice of stone
And not bethink me straight of dangerous rocks,
Which, touching but my gentle vessel’s side,
Would scatter all her spices on the stream,
Enrobe the roaring waters with my silks,
35And, in a word, but even now worth this,
And now worth nothing? Shall I have the thought
To think on this, and shall I lack the thought
ANTONIO, SALARINO, and SOLANIO enter.
ANTONIO
To be honest, I don’t know why I’m so sad. I’m tired of
it, and you say you’re tired of it too. But I have no idea
how I got so depressed. And if I can’t figure out what’s
making me depressed, I must not understand myself
very well.
SALARINO
You’re worried about your ships. Your mind is out there
getting tossed around on the ocean with them. But
they’re fine. They’re like huge parade floats on the sea.
They’re so big they look down on the smaller ships,
which all have to bow and then get out of the way. Your
ships fly like birds past those little boats.
SOLANIO
Yes, believe me, if I had such risky business ventures in
other countries, I’d be sad too. I’d worry about it every
second. I’d constantly be tossing blades of grass into the
air to find out which way the wind was blowing. I’d be
peering over maps to figure out the best ports, piers, and
waterways. Everything that made me worry about my
ships would make me sad.
SALARINO
I’d get scared every time I blew on my soup to cool
it, thinking of how a strong wind could wipe out my
ships. Every time I glanced at the sand in an
hourglass I’d imagine my ships wrecked on
sandbars. I’d think of dangerous rocks every time I
went to church and saw the stones it was made of. If
my ship brushed up against rocks like that, its whole
cargo of spices would be dumped into the sea. All of
its silk shipments would be sent flying into the
roaring waters. In one moment I’d go bankrupt.
Who wouldn’t get sad thinking about things like
that? It’s obvious. Antonio is sad because he’s so
worried about his cargo.
That such a thing bechanced would make me sad?
But tell not me. I know Antonio
40Is sad to think upon his merchandise.
ANTONIO
Believe me, no. I thank my fortune for it—
My ventures are not in one bottom trusted,
Nor to one place, nor is my whole estate
Upon the fortune of this present year.
45Therefore my merchandise makes me not sad.
SOLANIO
Why then, you are in love.
ANTONIO
    Fie, fie!
SOLANIO
Not in love neither? Then let us say you are sad
Because you are not merry—and ’twere as easy
For you to laugh and leap and say you are merry
50Because you are not sad. Now, by two-headed
Janus,
Nature hath framed strange fellows in her time.
ORIGINAL TEXT
Some that will evermore peep through their
eyes
And laugh like parrots at a bagpiper,
And other of such vinegar aspect
55That they’ll not show their teeth in way of
smile
Though Nestor swear the jest be laughable.
Enter  BASSANIO, LORENZO,
and GRATIANO
Here comes Bassanio, your most noble
kinsman,
Gratiano, and Lorenzo. Fare ye well.
ANTONIO
No, that’s not it, trust me. Thankfully my financial
situation is healthy. I don’t have all of my money
invested in one ship, or one part of the world. If I
don’t do well this year, I’ll still be okay. So it’s not
my business that’s making me sad.
SOLANIO
Well then, you must be in love.
ANTONIO
Oh, give me a break.
SOLANIO
You’re not in love either? Fine, let’s just say you’re
sad because you’re not in a good mood. You know,
it’d be just as easy for you to laugh and dance
around and say you’re in a good mood. You could
just say you’re not sad. Humans are so different.
MODERN TEXT
Some people will laugh at anything, and others
are so grouchy they won’t even crack a smile
when they hear something hysterically funny.
BASSANIO, LORENZO,
and  GRATIANO enter.
Here comes your cousin Bassanio. And
Gratiano and Lorenzo too. Goodbye, then.
We’ll leave you to talk to them. They’re better
We leave you now with better company.
SALARINO
60I would have stayed till I had made you
merry
If worthier friends had not prevented me.
ANTONIO
Your worth is very dear in my regard.
I take it your own business calls on you
And you embrace th' occasion to depart.
SALARINO
65(to BASSANIO, LORENZO, GRATIANO)
Good morrow, my good lords.
BASSANIO
(to SALARINO and SOLANIO)
Good signors both, when shall we laugh?
Say, when?
You grow exceeding strange. Must it be so?
SALARINO
70We’ll make our leisures to attend on yours.
Exeunt SALARINO  and SOLANIO
LORENZO
My Lord Bassanio, since you have found
Antonio,
We two will leave you. But at dinnertime
I pray you have in mind where we must
meet.
BASSANIO
I will not fail you.
ORIGINAL TEXT
GRATIANO
75You look not well, Signor Antonio.
company.
SALARINO
I would’ve stayed to cheer you up, if your
nobler friends hadn’t shown up.
ANTONIO
You’re both very precious to me. But I
understand. You need to leave to take care of
your own business.
SALARINO
(to BASSANIO, LORENZO,
and GRATIANO) Good morning, gentlemen.
BASSANIO
(to SALARINO and SOLANIO) Hello,
friends. When are we going to have fun
together again? Just name the time. We never
see you anymore. Does it have to be that way?
SALARINO
Let us know when you want to get together.
We’re available.
SALARINO  and SOLANIO  exit.
LORENZO
Bassanio, we’ll say goodbye for now, since
you’ve found Antonio. But don’t forget, we’re
meeting for dinner tonight.
BASSANIO
Don’t worry, I’ll be there.
MODERN TEXT
GRATIANO
You don’t look well, Antonio. You’re taking
You have too much respect upon the world.
They lose it that do buy it with much care.
Believe me, you are marvelously changed.
ANTONIO
I hold the world but as the world, Gratiano—
80A stage where every man must play a part,
And mine a sad one.
GRATIANO
    Let me play the fool.
With mirth and laughter let old wrinkles
come.
And let my liver rather heat with wine
Than my heart cool with mortifying groans.
85Why should a man whose blood is warm
within
Sit like his grandsire cut in alabaster,
Sleep when he wakes, and creep into the
jaundice
By being peevish? I tell thee what, Antonio
— like a statue? Why should he sleep when he’s
I love thee, and ’tis my love that speaks—
90There are a sort of men whose visages
Do cream and mantle like a standing pond,
And do a willful stillness entertain
With purpose to be dressed in an opinion
Of wisdom, gravity, profound conceit,
95As who should say, “I am Sir Oracle,
And when I ope my lips, let no dog bark!”
O my Antonio, I do know of these
That therefore only are reputed wise
For saying nothing, when I am very sure
100If they should speak, would almost damn
those ears
Which, hearing them, would call their
brothers fools.
I’ll tell thee more of this another time.
But fish not with this melancholy bait
For this fool gudgeon, this opinion.—
105Come, good Lorenzo.—Fare ye well
awhile.
I’ll end my exhortation after dinner.
things too seriously. People with too much
invested in the world always get hurt. I’m
telling you, you don’t look like yourself.
ANTONIO
For me the world is just the world, Gratiano—
a stage where every person has a part to play. I
play a sad one.
GRATIANO
Then I’ll play the happy fool and get laugh
lines on my face. I’d rather overload my liver
with wine than starve my heart by denying
myself fun. Why should any living man sit still
awake? Why should he get ulcers from being
crabby all the time? I love you, and I’m telling
you this because I care about you, Antonio—
there are men who always look serious. Their
faces never move or show any expression, like
stagnant ponds covered with scum. They’re
silent and stern, and they think they’re wise
and deep, important and respectable. When
they talk, they think everybody else should
keep quiet, and that even dogs should stop
barking. I know a lot of men like that, Antonio.
The only reason they’re considered wise is
because they don’t say anything. I’m sure if
they ever opened their mouths, everyone
would see what fools they are. I’ll talk to you
more about this some other time. In the
meantime, cheer up. Don’t go around looking
so glum. That’s my opinion, but what do I
know? I’m a fool.—Let’s go, Lorenzo.—
Goodbye for now. I’ll finish my lecture after
dinner.
ORIGINAL TEXT
LORENZO
Well, we will leave you then till dinnertime.
I must be one of these same dumb wise men,
For Gratiano never lets me speak.
GRATIANO
110Well, keep me company but two years more,
Thou shalt not know the sound of thine own tongue.
ANTONIO
Farewell. I’ll grow a talker for this gear.
GRATIANO
Thanks, i' faith, for silence is only commendable
In a neat’s tongue dried and a maid not vendible.
Exeunt GRATIANO and LORENZO
ANTONIO
115Is that any thing now?
BASSANIO
Gratiano speaks an infinite deal of nothing, more than
any man in all Venice. His reasons are as two grains
of wheat hid in two bushels of chaff—you shall seek
all day ere you find them, and when you have them
they are not worth the search.
ANTONIO
Well, tell me now what lady is the same
To whom you swore a secret pilgrimage,
That you today promised to tell me of?
BASSANIO
'Tis not unknown to you, Antonio,
125How much I have disabled mine estate,
By something showing a more swelling port
Than my faint means would grant continuance.
Nor do I now make moan to be abridged
From such a noble rate. But my chief care
ORIGINAL TEXT
130Isto come fairly off from the great debts
Wherein my time something too prodigal
Hath left me gaged. To you, Antonio,
MODERN TEXT
LORENZO
All right, we’ll see you at dinnertime. I must be one of
these silent so-called wise men Gratiano’s talking about,
because he never lets me get a word in.
GRATIANO
If you hang around me for two more years, you’ll forget
the sound of your own voice. I won’t ever let you speak.
ANTONIO
Goodbye. After that lecture of yours, I’ll start talking a
lot.
GRATIANO
Thank you. The only tongues that should be silent are
ox-tongues on a dinner plate and those that belong to old
maids.
GRATIANO and LORENZO exit.
ANTONIO
Is he right?
BASSANIO
Gratiano talks more nonsense than any other man in
Venice. His point is always like a needle in a haystack
—you look for it all day, and when you find it you
realize it wasn’t worth the trouble.
ANTONIO
So, who’s this girl, the one you said you were going to
take a special trip for? You promised to tell me.
BASSANIO
Antonio, you know how bad my finances have been
lately. I’ve been living way beyond my means. Don’t
get me wrong, I’m not complaining about having to cut
back.
MODERN TEXT
I just want to be honorable and pay off the big debts that
piled up when I was living the high life. I’m in debt to
many people, and I owe most to you, Antonio—both
I owe the most in money and in love,
And from your love I have a warranty
135To unburden all my plots and purposes
How to get clear of all the debts I owe.
ANTONIO
I pray you, good Bassanio, let me know it.
And if it stand, as you yourself still do,
Within the eye of honor, be assured
140My purse, my person, my extremest means
Lie all unlocked to your occasions.
BASSANIO
In my school days, when I had lost one shaft,
I shot his fellow of the selfsame flight
The selfsame way with more advisèd watch
145To find the other forth—and by adventuring both,
I oft found both. I urge this childhood proof
Because what follows is pure innocence.
I owe you much, and, like a willful youth,
That which I owe is lost. But if you please
150To shoot another arrow that self way
Which you did shoot the first, I do not doubt,
As I will watch the aim, or to find both
Or bring your latter hazard back again
And thankfully rest debtor for the first.
ANTONIO
155You know me well, and herein spend but time
To wind about my love with circumstance.
And out of doubt you do me now more wrong
In making question of my uttermost
Than if you had made waste of all I have.
160Then do but say to me what I should do
That in your knowledge may by me be done,
And I am pressed unto it. Therefore speak.
ORIGINAL TEXT
BASSANIO
In Belmont is a lady richly left,
And she is fair and—fairer than that word—
165Of wondrous virtues. Sometimes from her eyes
I did receive fair speechless messages.
Her name is Portia, nothing undervalued
To Cato’s daughter, Brutus' Portia.
Nor is the wide world ignorant of her worth,
170For the four winds blow in from every coast
Renownèd suitors, and her sunny locks
Hang on her temples like a golden fleece,
money and gratitude. And because you care about me, I
know you’ll let me tell you my plan to clear all my
debts.
ANTONIO
Please let me know your plan, Bassanio. As long as it’s
honorable, you can be sure that I’ll let you use all my
money and do everything I can to help you.
BASSANIO
Back when I was a schoolboy, if I lost an arrow I would
try to find it by shooting another arrow in the same
direction, watching the second arrow more carefully
than I had the first. By risking the second arrow, I’d
often get both of them back. I’m telling you this story
for a reason. I owe you a lot, and like a spoiled kid I’ve
lost what I owe you. But if you’d be willing to shoot
another arrow the same way you shot the first, I’ll watch
your arrow more carefully this time. Either we’ll get
back all the money I owe you, or else we’ll get back
what you lend me this time, and I’ll just owe you what I
already owe you.
ANTONIO
You know me better than that. You’re wasting your
breath. All of this talk means you have doubts about my
friendship. That’s worse than if you bankrupted me. Just
tell me what to do, and I’ll do it. Tell me.
MODERN TEXT
BASSANIO
There’s a girl in Belmont who’s inherited a huge
amount of money, and she’s beautiful and—even better
—she’s a good person. I think she likes me. Sometimes
the expression on her face tells me she likes me. Her
name is Portia. She’s as rich as that famous Roman
heroine Portia, the daughter of Cato and wife of Brutus.
Her wealth is world-famous. Famous and important men
have come in from all over the world to try to marry her.
The hair that hangs down on her forehead is like gold,
calling every adventurer to Belmont like a gold rush.
Which makes her seat of Belmont Colchos' strand,
And many Jasons come in quest of her.
175O my Antonio, had I but the means
To hold a rival place with one of them,
I have a mind presages me such thrift
That I should questionless be fortunate!
ANTONIO
Thou know’st that all my fortunes are at sea.
180Neither have I money nor commodity
To raise a present sum. Therefore go forth,
Try what my credit can in Venice do—
That shall be racked even to the uttermost
To furnish thee to Belmont, to fair Portia.
185Go presently inquire, and so will I,
Where money is, and I no question make
To have it of my trust or for my sake.
Exeunt
Antonio, if I only had enough money to hold my own
against those suitors, I know I could win her!
ANTONIO
You know right now all my money’s tied up in that
cargo that’s still at sea. I can’t give you the cash you
need because I don’t have it. But go ahead and charge
things to me on credit, as much credit as I can get in
Venice. I’ll use all my lines of credit to help you get to
Belmont, to Portia. Go see who will lend money, and
I’ll do the same. I’m sure I can get something either as a
business loan, or as a personal favor.
They exit.