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WILLIAM SHAKESPEARE'S

THE
MERCHANT
OF
VENICE

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Written and edited by
Nishkarsh

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The Merchant of Venice:
Introduction

The Merchant of Venice is a 16th-century

play written by William Shakespeare in
which a merchant in Venice named Antonio
defaults on a large loan provided by a Jewish
moneylender, Shylock. It is believed to have
been written between 1596 and 1599.

Although classified as a comedy in the First

Folio and sharing certain aspects with
Shakespeare's other romantic comedies, the

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play is most remembered for its dramatic
scenes, and it is best known for Shylock and
his famous "Hath not a Jew's eyes?" speech
on humanity. Also notable is Portia's speech
about "the quality of mercy".

The Merchant of Venice is the story of a

Jewish moneylender who demands that an
antisemitic Christian offer “a pound of flesh”
as collateral against a loan. First performed
in 1598, Shakespeare’s study of religious
difference remains controversial.

Key Facts about The Merchant of Venice :

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Full Title: The Comical History of the
Merchant of Venice, or Otherwise Called the
Jew of Venice
Author: William Shakespeare
Type Of Work: Play
Genre: Comedy
Sources: Christopher Marlowe's The Jew of
Malta, Giovanni Fiorentino's II Pecorone,
Gesta Ramanorum
Language: Elizabethan English
Time Written: 1596-1597
Place Written: London, England
First Performance: 1598

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Date Of First Publication: First Published in
the Quarto of 1600 and later in First Folio
(1623)
Literary Period: The Renaissance
(1500-1600)
Tone: Comic, romantic, and tragic
Setting (Time): The Renaissance (16th
century)
Setting (Place): Venice and Belmont, Italy
Protagonist: There is no clear protagonist.
Antonio is the merchant of the play’s title, but
he plays a relatively passive role. He is the
central character. The major struggles of the
play are Bassanio’s quest to marry Portia
and his attempt to free Antonio from

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Shylock, so Bassanio is the likeliest
candidate.
Heroine: Portia
Antagonist: Shylock
Central character: Antonio
Comic characters: Gratiano and Launcelot
Main Plot characters: Bassanio, Portia,
Antonio and Shylock
Subplot characters: Gratiano and Nerissa,
Lorenzo and Jessica
Supporting characters: Morocco, Arragon,
Salarino and Salanio, Tubal, Launcelot
Gobbo and Old Gobbo
Number of scenes: 20
Prose used:

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Verse used:
Major Conflict: Antonio defaults on a loan he
borrowed from Shylock, wherein he promises
to sacrifice a pound of flesh.
Rising Action: Antonio’s ships, the only
means by which he can pay off his debt to
Shylock, are reported lost at sea.
Climax: Portia, disguised as a man of law,
intervenes on Antonio’s behalf.
Falling Action: Shylock is ordered to convert
to Christianity and bequeath his possessions
to Lorenzo and Jessica; Portia and Nerissa
persuade their husbands to give up their
rings.

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Themes: Self-interest versus love; the divine
quality of mercy; hatred as a cyclical
phenomenon
Motifs: The law; cross-dressing; filial piety
Symbols: The pound of flesh; Leah’s ring; the
three caskets
Foreshadowing: In the play’s opening scene,
Shakespeare foreshadows Antonio’s grim
future by suggesting both his indebtedness
to a creditor and the loss of his valuable
ships.

Interesting Facts and Things about the Play

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 Characters in the Play

THE DUKE OF VENICE, who preside

over the trial scene

THE PRINCE OF MOROCCO, first suitor

to Portia
THE PRINCE OF ARRAGON, second
suitor to Portia

ANTONIO, a merchant of Venice

BASSANIO, his best friend, in love with
Portia and third suitor to Portia
GRATIANO, another friend, in love with
Nerissa

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LORENZO, another friend, in love with
Jessica
SALARINO, other friend of Antonio and
Bassanio, Salanio's companion
SALANIO, other friend of Antonio and
Bassanio, Salarino's companion
SALERIO, another friend who reports the
news of Antonio's bankruptcy
LEONARDO, servant to Bassanio

SHYLOCK, a rich Jew, and a moneylender

JESSICA, his daughter, in love with
Lorenzo
LAUNCELOT GOBBO, his unfaithful
servant, and a clown
OLD GOBBO, Launcelot's blind father

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TUBAL, another Jew, Shylock's friend

PORTIA, a wealthy and beautiful heiress of

Belmont, Bassanio's lover
NERISSA, her lady-in-waiting, Gratiano's
lover
BALTHAZAR, a loyal servant of Portia
STEPHANO, another servant to Portia

Merchants, Magnificoes, Nobles of Venice,

Officers of the Court of Justice, Gaoler,
Musicians, Messengers, Servants to Portia
and Antonio and other attendants.

The action of the play takes place in Venice

and Belmont.

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Note: Salarino and Salerio are said to be the
one and the same person. Salanio is also
spelt as Solanio.

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Movies and Audiobooks based on
the play

The Merchant of Venice (2004) trailer

The Merchant of Venice (2004) movie
https://youtu.be/bksb_tWzvW4
https://youtu.be/J9q7h9b-KWs

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. ACT I : SCENE I
______________________
The opening scene gives the Exposition, the situation on which
the story is based. We are introduced to Antonio, the
Merchant, who gives the title to the drama. Interest is
heightened by showing him in a melancholic mood. Salarino
and Salanio, his friends, give various reasons for his sadness
and try to bring him out of it. Bassanio, the closest friend of
Antonio, asks for a loan from him in order to present himself
as an eligible suitor to Portia, a rich heiress of Belmont.
Antonio's ships are still at sea; he has no ready cash with him;
but he authorises Bassanio to use his good name for credit and
get a loan from the moneylenders.

______________________

Scene 1. Venice. A street.

Enter ANTONIO, SALARINO, and SALANIO

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ANTONIO
In sooth, I know not why I am so sad.
It wearies me; you say it wearies you;
But how I caught it, found it, or came by it,
What stuff 'tis made of, whereof it is born,
I am to learn;
And such a want-wit sadness makes of me,
That I have much ado to know myself.

In sooth: in truth. It wearies me: The sadness makes me

tired. caught: acquired. came by: got. whereof: of what
origin. I am to learn: I am yet to learn. want-wit: an
absent-minded fellow. ado: trouble. And such a want-wit
sadness makes of me, /That I have much ado to know
myself: This sadness makes me so absent-minded that I do
not know who I am.

Antonio. In truth, I don't know why I

am so sad. I don't know the cause of

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my depressed melancholic mood. The
sadness makes me feel tired, and you
say you're tired of it too. I have no
idea how I got so depressed. But I
don't know how I acquired it, where I
found it, how I got this melancholy
mood; what it's about; or what origin
it is born from. I am not aware of it
and I am yet to learn. And this fool
sadness makes me such an
absent-minded and stupid fellow that
I am experiencing great trouble in
understanding myself; sometimes I
even do not know who I am.

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SALARINO
Your mind is tossing on the ocean;
There, where your argosies with portly sail,
Like signiors and rich burghers on the flood
Or, as it were, the pageants of the sea,
Do overpeer the petty traffickers,
That curt'sy to them, do them reverence,
As they fly by them with their woven wings.

argosies: big commercial ships. Originally Argosy was a ship of

Ragusa, a port on the Adriatic near Venice. According to a Greek
legend, Argo was a ship built by Argus for Jason. Jason reached
Colchos after a long adventurous voyage. At Colchos, Medea, who had
fallen in love with Jason, used her powers to get him the golden fleece.
She managed to get it after putting to sleep the dragon who had been
guarding the fleece. In the scene, Argosies refers to big merchant
ships. portly: stately. signiors: gentlemen. burghers: important
citizens. flood: sea. pageants: processions. overpeer: surpass. petty
traffickers: small commercial boats. curt'sy: bow in respect. That
curt'sy to them, do them reverence: that move up and down as if

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they were showing respect to them. do them reverence: show respect
to them. fly: speed past. woven wings: canvas sails.

Salarino. Your thoughts are going up

and down with the waves of the
ocean. There your mind is
preoccupied with anxiety for the
safety of your big merchant ships
which are tossing on the ocean.
Your mind is with the ships, where
with their sails filled with favourable
winds, are stately sailing like rich
gentlemen and important citizens
parading on the sea. Your ships move
as if they were a procession of the sea

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where your ships tower over the little
trade boats that they pass by, proudly
surpass those small commercial boats
that move up and down to appear that
they were paying their respects and
bowing before the greatness of your
huge ships. And these huge ships
speed past those small ships with it's
beautiful canvas sails.

SALANIO
Believe me, sir, had I such venture forth,
The better parts of my affections would
Be with my hopes abroad. I should be still

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Plucking the grass, to know where sits the
wind;
Peering in maps for ports, and piers, and
roads;
And every object that might make me fear
Misfortune to my ventures, out of doubt
Would make me sad.

venture: business operations. had I such venture forth: if I had such

business abroad. affections: feelings. still: always. Plucking the
grass to know where sits the wind: holding up a blade of grass to
see in which direction the wind is blowing. Peering: looking carefully.
piers: harbours. roads: channels. out of doubt: without doubt.

Salanio. Believe me, sir, if I were

involved in such trade ventures and
business operations abroad, most of
my mental energy and feelings would

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be with the safety of my ships, as
well. I'd always pull up and hold
blades of grass in my hand to use
them to check the direction and
velocity of blowing wind, and would
spend much of time looking carefully
into maps for location of ports,
harbours and channels through which
the cargoes would reach me. I should
be, all the time, occupied with
anxiety for my rich cargo. And quite
naturally, any little thing that creates
doubt and makes me worried that
something bad would happen to my

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ships' security and safety would
automatically make me sad, without a
doubt.

SALARINO

rocks,
Which touching but my gentle vessel's side,
Would scatter all her spices on the stream,
Enrobe the roaring waters with my silks,
And, in a word, but even now worth this,
And now worth nothing? Shall I have the
thought
To think on this, and shall I lack the thought
That such a thing bechanced would make me

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sad?
But tell not me: I know Antonio
Is sad to think upon his merchandise.

wind: breath. broth: soup. Would blow me: would make me tremble.
ague: fever with shivering. sandy hour-glass: an apparatus with two
spheres of glass joined together with a tiny hole between, through
which sand ran from one sphere to the other in one hour. The
apparatus was used to indicate time before watches became common.
The sight of the sand in the glass would remind one of dangers from
hidden banks of sand at sea, on which ships may run aground.
shallows: shallow waters. flats: sandbanks. Wealthy Andrew: a
common name for a big ship. In 1596 the English captured a Spanish
ship in Cardiz. The ship was named Andrea. It ran aground when it was
being brought to England. Since then Andrew refers to a big cargo ship.
dock'd: run ashore. Vailing her high-top: lowering her top of the mast.
ribs: sides of the ship. To kiss her burial: to kiss the sand in which
she is buried. edifice: building. straight: immediately. And not bethink
me straight of dangerous rocks: and not remind me immediately of
dangerous rocks. vessel: two meanings----ship and container. Enrobe:
cover. but even now worth this, /And now worth nothing: just before
a moment, the cargo was so valuable, but now it is worth nothing. shall
I lack the thought /That such a thing bechanced would make me
sad?: if I can imagine all this could happen, shall I also not have the
imagination to picture the grief which the occurrence of such a disaster
would cause me? such a thing bechanced: the happening of such a
thing. to think upon his merchandise: to think of the possible dangers
for his merchandise.

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Salarino. Under such circumstances
and state of mind, I'd get upset and it
would make me tremble to a fever
with shivering when I blow on my hot
soup with my own breath, because it
would make me think of what harm
strong winds at sea could do to my
cargo-laden ships. I could not see the
sands running in an hour-glass without
thinking of shallow waters and
sandbanks where I visualise my
merchant ship, "The Andrew," laden
with rich cargo running aground

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(ashore) in sandy banks with all its
riches by lowering her top of the mast
than her sides and flipped over to kiss
the sand in which she is buried. I even
apprehend the worst, the capsizing of
my ship----her mast and sails going
down to their watery grave. If I went
to church and saw it's holy building of
stone, and not reminded me
immediately of dangerous hidden
rocks of the sea that could break the
delicate sides of my ships and scatter
valuable spices all over the water,
causing my silks to fall out and drape

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on the roaring waves. In a moment
the surface of the ocean may be
covered with valuable spices and
costly silk. The cargo was worth so
much, and would all of a sudden be
lost and worth nothing to me. And
unfortunately, this results in a huge
loss to me. If I can imagine all this
could happen, shall I not also have the
imagination to picture the grief which
the occurrence of such a disaster
would cause me? And what effect do
such apprehensions have on my mind?
How could I think of such things

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happening and not get sad? But you
don't need to tell me. I know that
Antonio is sad because he's worrying
about the possible dangers for 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:
Therefore, my merchandise makes me not
sad.

fortune: (two meanings) 'luck' and 'wealth'. ventures: business.

bottom: ship. My ventures are not in one bottom trusted, /Nor to

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one place: My business enterprises are not all risked in one single ship
nor destined to any one place. nor is my whole estate /Upon the
fortune of this present year: nor is my financial position dependent on
the business ventures of this year.

Antonio. Believe me, you're wrong. I

tell you the truth that this is not the
case with me. Thank goodness, not all
my business enterprises and wealth is
risked in one single ship (but in
several) nor destined to any one place
(so that if one ship or one venture
comes to grief I am not ruined
completely); nor is my whole financial
position dependent on the business

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ventures of this year. Therefore, it's
not my merchandise that is making me
sad.

SALANIO
Why, then you are in love.

Salanio. Well, then, you must be in

love.

ANTONIO
Fie, fie!

Fie: nonsense.

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Antonio. What nonsense! Shame,
shame on you to imagine such a thing.

SALANIO
Not in love either? Then let us say you are
sad,
Because you are not merry: and 'twere as
easy
For you to laugh and leap and say you are
merry,
Because you are not sad. Now, by
two-headed Janus,
Nature hath framed strange fellows in her
time:

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Some that will evermore peep through their
eyes,
And laugh like parrots at a bag-piper;
And other of such vinegar aspect,
That they'll not show their teeth in way of
smile,
Though Nestor swear the jest be laughable.

Not in love neither: double negative for emphasis. In modern English

it should read "Not in love either." leap: frisk. Janus: a Roman God of
doors, who had two faces and heads looking in opposite directions: one
frowning, the other smiling; one head looking inwards and the other
looking out. He is referred here to indicate that Nature creates two
different types of men, with different outlooks. According to a legend,
Janus had received from the god Saturn the gift to see both the future
and the past. He was worshipped at the beginning of harvest and
planting times, marriages, births and other such beginnings. The month
of January is named after him. Janus is mentioned in the text to show
that there are two types of people: one happy; and the other, sad.
framed: made. evermore: always. peep through their eyes: wrinkle
their faces when they laugh, so that their eyes appear to be peeping

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through the folds. And laugh like parrots at a bag-piper: laugh even
at a bag-piper as foolishly as a parrot laughs at anything. bag-piper:
one who plays the bag-pipe. of such vinegar aspect: with such a sour
expression. in way of smile: in a smile. Nestor: an old and wise Greek
general, who fought in the Trojan War; a joke had to be extremely funny
if Nestor laughed at it. In Greek mythology, Nestor was the king of
Pylos. He was one of the greatest generals in the Trojan war. He was
famous for his wisdom. He was so grave that if he laughed at a joke, it
meant that the joke was actually funny.

Salanio. You are not in love either.

Then let's just say you are sad because
you are not happy. You are
temperamental. It would be just as
easy for you to laugh and jump around
and just say you are happy because
you are not sad. I swear, by
two-headed Janus who had two faces,

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one frowning and the other smiling,
that nature has created strange types
of persons in her time with completely
different outlooks. Some people are
always happy and wrinkled their faces
when they laugh, so that their eyes
appear to be peeping through the
folds. They are always in the search of
fun, and could even laugh at a
bag-pipe player in funeral as foolishly
as a parrot laughs at anything, while
others are so grave and sour in
expression that they don't even show
their teeth when they crack a smile

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even if a Nestor swears that the joke
is extremely funny and deserves our
laugh.

Enter BASSANIO, LORENZO, and

GRATIANO

Here comes Bassanio, your most noble

kinsman,
Gratiano, and Lorenzo. Fare ye well:
We leave you now with better company.

kinsman: probably means a friend.

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Salanio. Here comes Bassanio, your
most noble relative, along with
Gratiano and Lorenzo. Goodbye. We'll
leave you now to these better
company of friends.

SALARINO
I would have stay'd till I had made you
merry,
If worthier friends had not prevented me.

Salarino. If it weren't for these better

friends coming along, I would have
stayed until I made you cheerful.

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ANTONIO
Your worth is very dear in my regard
I take it, your own business calls on you,
And you embrace the occasion to depart.

regard: esteem. calls on: needs. embrace the occasion: take the
opportunity.

Antonio. I see you as very worthy in

my self-esteem and I respect you very
much. I gather you have business to
take care of and are just taking this
opportunity to leave.

SALARINO

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Good morrow, my good lords.

Salarino. Good morning, my good

lords.

BASSANIO
Good signiors both, when shall we laugh?
say, when?
You grow exceeding strange: must it be so?

laugh: have a merry party together. You grow exceeding strange:

you are becoming strangers to me.

Bassanio. Both of you are good

gentlemen; when are we going to
have fun times together? Tell me,

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when such a time will come? I find
that you are becoming quite reserved
lately. You're practically strangers
now. Does it have to be that way?

SALARINO
We'll make our leisures to attend on yours.

Salarino. We shall find some suitable

time to attend to you and to spend
some time together .

Exeunt SALARINO and SALANIO

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 SALARINO and SALANIO exit.

LORENZO
My Lord Bassanio, since you have found
Antonio,
We two will leave you; but at dinner-time,
I pray you, have in mind where we must
meet.

Lorenzo. My Lord Bassanio, since

you've found Antonio, the two of us
will leave you two alone. But please
remember and keep in mind where
we're meeting for dinner time.

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BASSANIO
I will not fail you.

Bassanio. I shall not disappoint you.

GRATIANO
You look not well, Signior Antonio;
You have too much respect upon the world:
They lose it that do buy it with much care:
Believe me, you are marvellously changed.

Gratiano. You don't look good, Sir

Antonio. You care too much about
worldly things. You have so many
anxious thoughts concerning worldly

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affairs. Those who care too much
about things and spend too much time
worrying about worldly matters are
never really happy and they also end
up losing everything because it makes
them uneasy and anxious. Believe me,
your appearance has changed
drastically (on account of your
worries).

ANTONIO
I hold the world but as the world, Gratiano;
A stage where every man must play a part,
And mine a sad one.

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Antonio. I value the world for what it
is, Gratiano. I do not pay undue
attention to public affairs. For me this
world is a stage where the drama or
life is enacted and where every man
must play a role assigned to him. And
my role in this world is 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 cools with mortifying groans.

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Why should a man, whose blood is warm
within,
Sit like his grandsire cut in alabaster?
Sleep when he wakes? and creep into the
jaundice
By being peevish? I tell thee what,
Antonio,----
I love thee, and it is my love that speaks,----
There are a sort of men, whose visages
Do cream and mantle like a standing pond;
And do a wilful stillness entertain,
With purpose to be dress'd in an opinion
Of wisdom, gravity, profound conceit;
As who should say, "I am Sir Oracle,
And when I ope my lips, let no dog bark!"
O my Antonio, I do know of these

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That therefore only are reputed wise
For saying nothing; when, I am very sure,
If they should speak, would almost damn
those ears
Which, hearing them, would call their
brothers fools.
I'll tell thee more of this another time:
But fish not, with this melancholy bait,
For this fool gudgeon, this opinion----
Come, good Lorenzo. Fare ye well awhile:
I'll end my exhortation after dinner.

Gratiano. Well let me play the role of

a fool to make people laugh so that I
grow old by leading a merry life, then.

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I don't care if laughter causes wrinkles
since I want wrinkles to overcast my
face with mirth and laughter. I'd
rather destroy my liver with wine than
waste away my breath with sad groans
in death pangs of care and anxiety.
Why should a warm-blooded and living
man be as cold and stoic and sit as
still as a statue of his dead
grandfather made of pure white
stone? Why should he be so grave and
inactive that he is practically asleep
while awake, and start to get jaundice
from being cranky so much? Be

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motionless during the working hours
(during the day) as if he were asleep.
Why should he gradually work himself
to be in a jaundiced state by being
irritable when he's so much alive? For
such persons life around them seems
not to exist and they become victims
of disease like jaundice on account of
their depression and melancholy. I tell
you what, Antonio—I love you, and I'm
speaking all this out of love for you
—there are some people in this world
whose faces are overcast with a set of
pale expression as unchanging and

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stand still as the scum that forms on
the surface of still waters in a pond
and as the white cream on the top of
milk, and they try hard to deliberately
put themselves on an air of solemnity
and maintain a still expression on
their faces with the intention of
creating a reputation of being wise,
serious, solemn, and profound thinker
as if he were to say, "I speak with the
authority of the Greek Sir Oracle, and
when I open my lips to speak, let no
dog bark!" Oh my Antonio, these kind
of men only have the reputation of

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wisdom because they say nothing, and
I'm sure that if they were to speak,
everyone listening would realize they
are fools, and for saying this, they
would be damned. I'll tell you more
about this another time. But don't use
this bait of melancholic silence in
order to catch such a foolish cheap
fish like popularity. Stop trying to get
people to think you're serious and wise
by acting all melancholy. Keep this as
my great advice. Come with me now,
good Lorenzo. Goodbye for now,

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Antonio. I'll finish the rest of my
encouraging speech after dinner.

LORENZO
Well, we will leave you then till dinner-time.
I must be one of these same dumb wise men,
For Gratiano never lets me speak.

Lorenzo. Well, we'll leave you until

dinnertime, then. I must be one of
these similar dumb but wise-seeming
men he talks about, because Gratiano
never lets me speak.

GRATIANO

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Well, keep me company but two years moe,
Thou shalt not know the sound of thine own
tongue.

Gratiano. Well, stick around with me

for only two more years and you'll
have forgotten the sound of your own
voice.

ANTONIO
Farewell: I'll grow a talker for this gear.

Antonio. Goodbye. I'll become a

talker because of this advice and start
to talk more, now.

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GRATIANO
Thanks, i'faith; for silence is only
commendable
In a neat's tongue dried, and a maid not
vendible.

Gratiano. Thanks, because in fact the

only tongues that should keep quiet
and where silence is to be praised are
beef (dried-ox) tongues on the dinner
plate, and those of uncooperative
maids.

Exeunt GRATIANO and LORENZO

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 GRATIANO and LORENZO exit.

ANTONIO
Is that any thing now?

Antonio. Does it make any sense?

What do you think of all that?

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 ere you
find them, and when you have them, they are
not worth the search.

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Bassanio. Gratiano speaks an endless
stream of nonsense, more than any
man in all of Venice. Trying to find
the point of what he's talking about is
like looking for two grains of wheat
(good sense) hidden in bushels of hay
(nonsense). You could look all day
before you find them, and once you
have it, it's not even worth the effort
you put into it.

ANTONIO
Well; tell me now, what lady is the same

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To whom you swore a secret pilgrimage,
That you today promised to tell me of?

Antonio. Well, then tell me now who

the lady is that you made an
agreement with to go on a secret trip?
You promised to tell me about today.

BASSANIO
'Tis not unknown to you, Antonio,
How much I have disabled mine estate,
By something showing a more swelling port
Than my faint means would grant
continuance:
Nor do I now make moan to be abridged

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From such a noble rate; but my chief care
Is, to come fairly off from the great debts
Wherein my time, something too prodigal,
Hath left me gaged. To you, Antonio,
I owe the most, in money and in love:
And from your love I have a warranty
To unburden all my plots and purposes
How to get clear of all the debts I owe.

Bassanio. It is not hidden from you,

Antonio, how I've been using up my
wealth and squandered my means, by
living a more lavish life than my
limited means will permit me to keep
up and afford such a grand lifestyle.

60
Now, I'm not complaining now about
having to be more frugal and forced
myself to give up from such a lordly
way of living, but my main concern is
that I do care about to get honourably
clear of by paying off the debts that I
incurred in my youth which had been
rather too extravagant while I was
living beyond my means, that has left
me indebted. I owe the most to you,
Antonio, both in money and in love.
And because we are good friends and
your affection for me gives me the
right to unfold to you all my plans,

61
schemes and intentions how to free
myself from the debts I owe.

ANTONIO
I pray you, good Bassanio, let me know it;
And if it stand, as you yourself still do,
Within the eye of honour, be assured,
My purse, my person, my extremest means,
Lie all unlock'd to your occasions.

Antonio. Please do tell me, good

Bassanio. Let me know your plan. And
if your scheme is as perfectly
honourable as you still are, rest
assured that I will help you with my

62
money, my physical labour, and my
utmost resources are all open for your
needs.

BASSANIO
In my school-days, when I had lost one shaft,
I shot his fellow of the self-same flight
The self-same way with more advised watch,
To find the other forth; and by adventuring
both,
I oft found both: I urge this childhood proof,
Because what follows is pure innocence.
I owe you much, and, like a wilful youth
That which I owe is lost; but if you please
To shoot another arrow that self way

63
Which you did shoot the first, I do not doubt,
As I will watch the aim, or to find both,
Or bring your latter hazard back again,
And thankfully rest debtor for the first.

Bassanio. Back during my school days,

I was shooting arrows once and lost
one. So, I shot another similar arrow
the same exact way and paid better
attention to it so that I could follow
its course to find out the other. And
by risking both, the second arrow
often led me to the first arrow. I offer
this childhood experiment. With this

64
example from my childhood in mind,
listen to my plan, which is completely
innocent. I owe you a lot, and like a
rash and self-willed young man I have
lost whatever money I owe (got from)
you. But if you shoot another arrow
the same way which you shot the first,
by lending me money again, I have no
doubt that I will bring both arrows
back to you, because I'll watch the
second one more carefully and will
take care with what I am doing with
it. Either to clear both my debts or at
least I'll bring your latter (second)

65
loan back again, and remain in your
debt for the first loan.

ANTONIO
You know me well, and herein spend but
time
To wind about my love with circumstance;
And out of doubt you do me now more
wrong
In making question of my uttermost,
Than if you had made waste of all I have:
Then do but say to me what I should do,
That in your knowledge may by me be done,
And I am prest unto it: therefore, speak.

66
Antonio. You know me well, and are
only wasting your time in appealing to
my love and affection for you with
explanation and reasoning in such a
complicated manner. And undoubtedly
you do me more wrong now in
doubting that I love you enough and I
will do everything I can, than if you
had wasted all of my money. Simply
tell me what you would like me to do
which in your opinion may be done by
me, and I am quite ready to do it. So,
please tell me.

67
BASSANIO
In Belmont is a lady richly left;
And she is fair, and, fairer than that word,
Of wondrous virtues: sometimes from her
eyes
I did receive fair speechless messages:
Her name is Portia; nothing undervalued
To Cato's daughter, Brutus' Portia;
Nor is the wide world ignorant of her worth;
For the four winds blow in from every coast
Renowned suitors; and her sunny locks
Hang on her temples like a golden fleece;
Which makes her seat of Belmont Colchos'
strand,
And many Jasons come in quest of her.
O my Antonio, had I but the means

68
To hold a rival place with one of them,
I have a mind presages me such thrift,
That I should questionless be fortunate!

Bassanio. There is a lady in Belmont

who has inherited great wealth. And
she is beautiful, and better than the
word describes. She is not only known
for her fair complexion but also for
her wonderful moral virtues which
makes her more beautiful than the
beauty of her face. We've occasionally
exchanged some knowing glances.
Sometimes I have received tender,

69
lovely and unspoken messages from
her fair eyes which shows her
profound love and affections for me.
Her name is Portia, and she is in no
way inferior in terms of virtues or
quality to the Portia in Julius Caesar,
who was the daughter of Cato and a
wife of Brutus. She is well-known
worldwide. The whole world is not
ignorant of her worthiness, and
reputed suitors come to her from all
four corners of the world. And her
blonde and bright hair hangs over her
forehead like the Golden Fleece of a

70
ram which makes her house in
Belmont like the ancient kingdom of
Colchos, and it makes many Jasons
(adventurous suitors) want to come on
a quest for her. Oh my dear friend
Antonio, if I only had the means to
stand as a rival with these suitors, I
know without a doubt that I would be
successful in wooing her!

ANTONIO
Thou know'st that all my fortunes are at sea;
Neither have I money, nor commodity
To raise a present sum: therefore, go forth;

71
Try what my credit can in Venice do:
That shall be rack'd, even to the uttermost,
To furnish thee to Belmont, to fair Portia.
Go, presently inquire, and so will I,
Where money is; and I no question make,
To have it of my trust or for my sake.

commodity: goods, security for a loan. present sum: money

that is required now. Try what my credit can in Venice do:
see how much you can borrow in Venice, giving me your
security. rack'd: stretched. To furnish thee to Belmont: to
provide what is necessary for you to go to Belmont. presently:
at once. I no question make, /To have it of my trust or for
my sake: I have no doubt that I will be able to borrow money
either because of my business credit or on account of my
personal surety.

Antonio. You know that I have

invested all my capital in my

72
merchant ships which are still at sea.
At present I neither have ready cash
nor any such goods which can be
pawned as a security for a loan to
raise the desired amount that is
required now. Therefore, go forward;
try to find out if you can obtain a loan
on my credit from the other
moneylenders. See how much you can
borrow in Venice, giving me your
security. My credit can be stretched
to the farthest limit to provide what is
necessary for you to go to Belmont, to
present your love suit to beautiful

73
Portia. Go, at once and search where
money is available, and I will also do
the same. I have no doubt that I will
be able to borrow money either
because of my business credit or on
account of my personal surety.

Scene links for watching the play:

The Merchant of Venice: Act 1, Scene 1

Stage adaptation of the scene

74
 ACT I : SCENE II
_________________________________________

This scene opens in Belmont where Portia, the rich and

beautiful heiress resides. She shares with her maid, Nerissa,
her doubts concerning her future, due to the strange provisions
of her father's will. According to the will, she is to be won by
the suitor who chooses correctly from among the three caskets
made of gold, silver and lead. Portia ridicules the suitors, who
have come earlier to try their luck, showing her disapproval.
When Nerissa reminds her of Bassanio, she remembers him
and has tender thoughts for him. The scene is in prose and
deals in indirect explanations and characterisation.
_______________________________________

Scene 2. Belmont. A room in Portia's house.

Enter PORTIA with her waiting-woman
NERISSA

75
PORTIA
By my troth, Nerissa, my little body is
aweary of this great world.

By my troth: by my faith. aweary: tired.

Portia. I swear by my faith, Nerissa,

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

NERISSA
You would be, sweet madam, if your miseries
were in the same abundance as your good
fortunes are: and yet, for aught I see, they
are as sick that surfeit with too much as they
that starve with nothing. It is no mean

76
happiness therefore, to be seated in the
mean: superfluity comes sooner by white
hairs, but competency lives longer.

in the same abundance: as plentiful. aught: anything.

surfeit: are overfed. with nothing: with having nothing. no
mean: not small, poor. seated in the mean: placed in the
middle (between poverty and riches). Nerissa uses the word
mean in two different meanings: (i) poor (ii) moderate. It is no
mean happiness therefore, to be seated in the mean: It is
not small happiness to be situated in a position mid-way
between poverty and riches. superfluity comes sooner by
white hairs: those who have too much of anything (superfluity)
will age sooner. competency lives longer: those who have
just enough (competency) live longer.

Nerissa. If your troubles were as great

and plentiful as your good fortunes,
then you would be tired of this world,
sweet madam. But yet, for everything

77
as I see it, it seems that those people
who live in excess are as unhappy and
suffer as much as those who starve
with having nothing. One should be
happy, then, to find oneself
somewhere in the middle. The best
way to be happy is to be in the middle
class. It is not small happiness to be
situated in a position mid-way
between poverty and riches. Having
too much of anything will age sooner
and brings on gray hairs, while having
just enough to get by gives you a
longer life.

78
PORTIA
Good sentences, and well pronounced.

sentences: maxims; proverbs. pronounced: spoken. Portia,

perhaps, is hinting at the legal use of 'sentences' which are
legally 'pronounced' by judges.

Portia. Well spoken. Those are good

sayings.

NERISSA
They would be better, if well followed.

followed: obeyed.

79
Nerissa. They would be better if
people actually applied them to their
life.

PORTIA
If to do were as easy as to know what were
good to do, chapels had been churches, and
poor men's cottages princes' palaces. It is a
good divine that follows his own
instructions: I can easier teach twenty what
were good to be done, than be one of the
twenty to follow mine own teaching. The
brain may devise laws for the blood; but a
hot temper leaps o'er a cold decree: such a
hare is madness the youth, to skip o'er the

80
meshes of good counsel the cripple. But this
reasoning is not in the fashion to choose me
a husband. O me, the word "choose" ! I may
neither choose whom I would, nor refuse
whom I dislike; so is the will of a living
daughter curbed by the will of a dead father.
Is it not hard, Nerissa, that I cannot choose
one, nor refuse none?

to do: to act. chapels: a church which accommodates a small

number of worshippers. had been: would have been. It: he.
divine: preacher. were: is. brain: reason or mind. devise:
make. blood: will or body. Note the distinction between reason
and will, or mind and body. a hot temper leaps o'er a cold
decree: The heat of desire disobeys such cold laws. cold
decree: good advice. such a hare is madness the youth to
skip o'er the meshes of good counsel the cripple: Youthful
high spirits are like a hare, which easily leaps (skip) over the
nets (meshes) of limping (the cripple) good advice (counsel).
reasoning: wise talk. in the fashion: the proper way. choose
me: select for me. O me: Oh dear. whom I would: whom I

81
like. the will: two meanings: 'desire' and 'testament'. curbed:
restrained. nor refuse none: the emphatic double negative.

Portia. You think it’s that easy? If

doing the right thing (good deed) were
as easy as knowing the right thing to
do, people would be better off, small
chapels would have been big
churches, and poor men's cottages
would be princes' palaces. He is a
good preacher (priest) who can follow
and practice what he preaches and
whatever he tells others to do. I could
more easily teach twenty people and
lecture them on what is the right

82
thing to do than actually be one
person out of those twenty and have
to follow my own teaching by doing
good things. Your mind may exercise
control and make laws for your
passions and body, but the heat of
desire disobeys such cold laws. Cold
rules don’t matter when you’ve got a
hot temper. Youthful high spirits
(young people) are like frisky mad
rabbits: they easily leap over the nets
of limping good advice from the
crippled old people trying to catch
them. But this kind of reasoning and

83
wise talk won't help me and this is not
the proper way to choose a husband
for me. Oh my dear, I used the word
"choose!" I can neither choose to
marry the one I like nor refuse the
ones I dislike. I’m a living daughter
still controlled by the wishes of her
dead father. The will of my dead
father overpowers (restrains) my own
wishes and desires. Isn't it
unfortunate, Nerissa, that I can't pick
up (choose) one, or refuse anyone ?

NERISSA

84
Your father was ever virtuous: and holy men
at their death have good inspirations;
therefore, the lottery, that he hath devised in
these three chests of gold, silver, and lead,
---- whereof who chooses his meaning
chooses you, ---- will, no doubt, never be
chosen by any rightly but one who shall
rightly love. But what warmth is there in
your affection towards any of these princely
suitors that are already come?

Nerissa. Your father was always

virtuous and an extremely moral man,
and religious men have good (odd)
ideas and divine guidance when they

85
are dying. He has set up a lottery
where your suitors will have to choose
between chests of gold, silver, and
lead, and whoever chooses the right
one will solve your father's riddle ----
and that suitor will win you as a wife.
And I am sure without any doubt that
it will never be chosen correctly by
anyone except one whoever chooses
correctly will be a man who will love
you well. No one will ever choose the
right casket who doesn’t deserve your
love. But what are your feelings

86
toward the princely suitors who have
already paid you visits?

PORTIA
I pray thee, over-name them; and as thou
namest them, I will describe them; and,
according to my description, level at my
affection.

Portia. Please, call out their names

one by one and as you name them, I
will describe them for you. And
according to my description, you can

87
guess my feelings and affection I have
for each of them.

NERISSA
First, there is the Neapolitan prince.

Nerissa. First, there is the prince from

Naples.

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

88
Portia. Yes, that one's a stallion
(young horse) indeed. He does nothing
but talk about his horse, and thinks a
great addition to his own merits
(accomplishments) that he can put the
horseshoes on his horse all by himself.
I'm worried and much afraid his
mother may have had an affair with a
blacksmith.

NERISSA
Then is there the County Palatine.

89
Nerissa. Then there is the Count
Palatine.

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

90
Portia. He does nothing but frown, as
if he is saying, "If you will not have me
as your husband, choose someone
else. I don't care." He doesn't even
smile when he hears funny stories. He
was so sad and solemn in his youth. I
worry that when he grows old he will
turn into a weeping philosopher
(Heraclitus of Ephesus) and I can only
imagine how much he’ll cry as an old
man, since he is so full of impolite
sadness and unpleasant gloom as a
young man. I should rather be married
to a skull with a bone in its mouth

91
than to either of these men. May God
defend (protect) me from these two!

NERISSA
How say you by the French lord, Monsieur
Le Bon?

Nerissa. What do you have to say

about the French lord, Monsieur Le
Bon?

PORTIA
God made him, and therefore let him pass
for a man. In truth, I know it is a sin to be a
mocker; but, he! ---- why, he hath a horse

92
better than the Neapolitan's, a better bad
habit of frowning than the Count Palatine;
he is every man in no man; if a throstle sing,
he falls straight a-capering; he will fence
with his own shadow: if I should marry him,
I should marry twenty husbands. If he would
despise me, I would forgive him; for if he
love me to madness, I shall never requite
him.

Portia. God created him, so I guess he

counts as a man. Believe me, I know it
is a sin to mock someone like this, but
he deserves it! Well, he has a horse
better than the prince from Naples'

93
and he talks even more than the
Neapolitan about his horse. He also
has a more exaggerated bad habit of
frowning than the Count Palatine. He
imitates qualities of every other man,
so that he seems to have no
personality himself. He was trying to
outdo everyone so much that you
couldn’t tell who he was. He has
everybody else's characteristics and
no personality of his own. If a thrush
bird sings, he immediately starts
jumping up and down (to the music)
and dances right away. He was so

94
eager to show off his fencing moves
that he would draw his sword against
his own shadow and fight with
himself. If I were to marry him, I
would have twenty husbands because
he’s like twenty men all rolled into
one! I wouldn't mind and even forgive
him if he despised me, since if he
madly loves me like a passionate man,
I would never be able to love him
back and return his affection for me.

NERISSA

95
What say you, then, to Falconbridge, the
young baron of England?

Nerissa. What do you think of the

Falconbridge, then, the young baron
from England?

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

96
Italy, his round hose in France, his bonnet in
Germany, and his behaviour everywhere.

Portia. I have no opinion about him.

You know that I say nothing to him,
because he can't understand me and I
can't understand him. We don’t talk
because we don’t understand each
other. He knows neither Latin,
French, nor Italian, and you could
swear in a court of law that I have
practically very little knowledge of
English (as much as could be bought
for a penny). He looks like a proper

97
man with a fine appearance, but who
can talk with someone who can't
speak in your language and acts
without words? And how strange his
clothes are and how oddly he has
dressed himself! I think he bought his
jacket in Italy, his socks (padded
breeches) in France, his hat in
Germany, and his behaviour and
manners everywhere.

NERISSA
What think you of the Scottish lord, his
neighbour?

98
Nerissa. What do you think of his
neighbor to the north, the Scottish
lord?

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

Portia. I think he is very forgiving and

has a neighborly sense of charity in

99
him, because he received a slap (a
blow on the ear) from the Englishman
and only threatened to hit him back
later rather than defending himself. I
think the Frenchman acts as his
guarantor that he would repay his
debt and he promised to join with
Scottish lord by signing his name
underneath the Scotman's signature on
the imaginary bond as a guarantee
that the Scottish lord would repay
back his debt to the the Englishman
and added another slap on his ear.

100
NERISSA
How like you the young German, the Duke of
Saxony's nephew?

Nerissa. How do you like the young

German, the Duke of Saxony's
nephew?

PORTIA
Very vilely in the morning, when he is sober,
and most vilely in the afternoon, when he is
drunk: when he is best, he is a little worse
than a man, and when he is worst, he is little
better than a beast. An the worst fall that

101
ever fell, I hope I shall make shift to go
without him.

Portia. He is pretty awful in the

morning when he is sobering up, and I
really hate him for still being worse in
the afternoon, when he is drunk.
When he is at his best, he is not quite
a man but a little less noble than a
normal person, and when he is at his
worst he is little better than a beast.
Even if the worst thing that could
happen and could ever occur to this

102
worst man, I hope I shall manage to
remain alive without him.

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

Nerissa. If he offers to take part in

the lottery as a suitor and chooses the
right casket, and you refuse to marry
him, then you would be refusing to

103
follow your father's will and
disobeying his last wishes.

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

Portia. I know. Well then, for fear

that might happen, so please place a
nice large glass of white wine on the
wrong casket, because I know he will

104
get tempted due to the desire of his
inner devil and choose that one. I will
do anything, Nerissa, to make sure I
don't have to marry a sponge
(drunkard).

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

105
Nerissa. You don't have to worry
about accepting any of these lords,
my lady. They have informed me
about their intentions and decisions,
which is to go back home and give up
on you. They are all planning on
returning home and not bothering you
anymore with a request for marriage,
---- unless they can win your favor by
some other way than the conditions
imposed by your father based on the
choice of caskets.

PORTIA

106
If I live to be as old as Sibylla, I will die as
chaste as Diana, unless I be obtained by the
manner of my father's will. I am glad this
parcel of wooers are so reasonable; for there
is not one among them but I dote on his very
absence; and I pray God grant them a fair
departure.

Portia. If I live to be as old as the

Cumaean Sibyl, I'll still be as chaste
(virgin) as Diana unless I am married
according to the rules set by my
father's will. I am glad this bunch of
suitors have too much sense to play
the game and they want to stay away,

107
because there is not one among them
whose presence I actually enjoy but I
do not wish them to be absent. The
only thing I like about them is that
they’re not here. And I pray that God
may grant them a smooth trip home.

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

108
Nerissa. Do you remember, lady, from
your father's time in Venice, a young
Venetian, a scholar and a soldier who
came here once accompanied by the
Marquess of Montferrat when your
father was still alive?

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

Portia. Yes, yes, that was Bassanio—I

think that was his name.

109
NERISSA
True, madam: he, of all the men that ever my
foolish eyes looked upon, was the best
deserving a fair lady.

Nerissa. That's right, madam, that's

the one. Of any man my foolish eyes
have ever seen, he was the one most
deserving of a beautiful lady like you.

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

110
Portia. I remember him very well, and
I remember him being worthy of your
praise. And I feel that he deserves the
praise you have lavished on him.

Enter a SERVINGMAN.

How now! what news?

Hello, do you have any news for me?

What do you bring? How are things
now?

SERVINGMAN

111
The four strangers seek for you, madam, to
take their leave; and there is a forerunner
come from a fifth, the Prince of Morocco;
who brings word, the prince his master will
be here tonight.

Servingman. The four foreigners are

looking for you to take their leave.
Before leaving, they all want to bid
you goodbye, madam. And ahead of
them comes a messenger representing
a fifth person, the Prince of Morocco,
who brings word that his master the
prince will be here tonight.

112
PORTIA
If I could bid the fifth welcome with so good
a heart as I can bid the other four farewell, I
should be glad of his approach: if he have the
condition of a saint and the complexion of a
devil, I had rather he should shrive me than
wive me. Come, Nerissa. ---- [to SERVANT]
Sirrah, go before. ---- Whiles we shut the
gate upon one wooer, another knocks at the
door.

Portia. If I could welcome the fifth

suitor as heartily as I will say goodbye
to the first four who are leaving, then

113
I would really be blissful (glad) to see
him on his arrival. If he has a heart as
good-natured and noble as that of a
saint but has the dark appearance of a
devil, I should prefer that he listen to
my confession and grant me
forgiveness like a holy man than make
me his wife by marrying me. Come
with me, Nerissa.

[To the SERVANT] You, go ahead of

us. Just see what is happening!

114
As soon as we shut the gates on the
exit of one suitor, another one comes
knocking at the door.

Exeunt.

115
 ACT I : SCENE III
______________________
In this scene, Shylock, the Jewish moneylender, is introduced.
He is the most powerful dramatic figure in the play. Shylock's
hatred for Antonio intensifies the drama. Having been
ridiculed by Antonio for years, he does not want to lend money
to his friend Bassanio. But foreseeing an opportunity to take
his revenge on Antonio, he agrees to give the loan on a bond
which would allow Shylock to cut off a pound of Antonio's
flesh, if he fails to repay the loan in time. The bond story is the
main plot here around which all action in the play takes place.

______________________

Scene 3. Venice. A public place.

Enter BASSANIO and SHYLOCK.

SHYLOCK
Three thousand ducats, ---- well.

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ducats: Venetian gold coins.

Shylock. So you need three thousand

ducats. Hmmm...

BASSANIO
Ay, sir, for three months.

SHYLOCK
For three months, ---- well.

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

SHYLOCK

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