19:25O OM + Sc Rem ACL | eee eed RG Ace ery The scene set in front of Shylock’s house continues. Lorenzo's friends, Graziano and Salerio. eC (Sete Ree Mae Send eens) Sen ce UR Ore rece crn Tec Pee ce eMac TUnL eC en ee Nia before the clock” (4). Salerio uses ca19:250 OM + SR ACL ‘The Merchant of Venice allusion to Venus and the doves that pull her chariot across the sky. He comments that her dove Persie Rete nn corcai scat ed Oss) eho “ten times faster” than those couples who have already been married for a long time (lines 5-7). STEN Me Reena SUT RUN ele ram O TC MSen ee et CS PT meer oe RCT Com ene Tes CeCe ie moan eS Saeco) sometime later: (1) A hungry person eagerly and quickly sits down to a feast but rises slowly afier he has PST OS ese eR ee Oc cae intended destination but return with a mu Reset A slistening ship setting sail for a journey will energetically head for strong winds, but COST ee me eso ship with its ragged sails struggles slowly Peete ace nan ts Cerrar ese ee Nee TUR een ence (12-13) Song ate Cee rt) and energetic; but shortly after they are united with19:250 OM + SRR RACE or eee ne en their lovers, they slow down considerably. Their erersgn eee t ante The clever metaphors stop with the arrival etc seen nee eer mt Pt eee eS ee Se) een me mon house to see if Jessica is inside. Creme Met Met em ie cme a Sa SR ee Sn me) Oe ORME ie ne eee Os neces nme ce ay Create or Mcae nme nn Te vas POCO ce ae Ce a) oor oR enon Meas icatats eee eu RON NA role of a boy, she informs Lorenzo that she will quickly finish getting ready and soon join them OSC eres ae eM tan (0 coo Cae Re eee eee eso Te RS cag audience). During the Renaissance boys played the UO Rt Rene ren eacos is doubly confusing: a boy is playing a girl who is PROS eae Pearse ear TC Net ess eerie oat comedies as well (Twelfth Night and As You Like rn} OME CMe a Com ce Racca) CR Re eee Sd 53-57). Praising the virtue of a lady was a ects CC COMO aes Mee bee ree eh el19:25 9 @™ - Pg ‘The Merchant of Venice Nice eM Roce Ee Ce On eo rece nuan eater etc r enc Rca Oa eae ELROD Cee ONC nD Belmont as soon as possible Act II, Scene 7; All That Glisters Tuc eee ea roa Cece ecm CTY ee eT choose the correct casket — the one containing a Rec eee oe cy one made of gold, one of silver, and one of lead. Each casket also contains an inscription, a riddle, to help or hinder the suitor from choosing the correct rn The gold casket: “Who chooseth me shall ain what many men desire.” (5) 2. The silver casket: “Who chooseth me shall get as much as he deserves.” (7) SM eke ema es eet Conn PERE c Le ae EL The Prince thinks carefully about the riddles. He rejects the lead casket because he finds it Cer aCe te RU eT ec gamble for wealth is foolish and beneath a person of )19:250 OM + SREY or eee ne en Te on eee Tae} eure Mecca Dem ETT cent? TMS Tae oT hae CR CNET SC eens) ST Gem ece Re SSeS silver casket. As a prince, he feels that he deserves ESS neOe Tee Ce eon Se enc Cor as to whether he deserves the Lady Portia. However, he then argues that to doubt his merits, to Ce me een On ame Rte weakness (line 30), He then convinces himself that he is as deserving as any other man and more Cesc aara nL So, the Prince then reexamines the riddle on eet en ce CR Ca Tae “what many men desire” must refer to Portia herself (Cree) ae ara Neko coe OR eC CSc ato) Ce a a Ce ee DM) Pree eC Men eee TCS na eae eran) the gold casket is, indeed, the correct choice: Portia is like a diamond or rare gem set in gold band or ring. Gold is the only appropriate setting for such a rare gem as one er esd) Portia’s image is like the angel engraved on Tero econ ane lene ntr ee “angel.” (55-57)19:26 OOM + SRL EY ‘The Merchant of Venice Reem eC ne UC OCT reside in the golden casket; and, so, he asks Port for the key to open it Pe cea Oem Ste by what he finds inside. Instead of the portrait, he CIN Ren te coco Ce CU Ree ec mCen i enero ES ceo mantener ite ee Sone een mee Many a man his life has sold Eres cen s CHRO OR Cen CD] Tea Rae ees EN NaeTt one omen crea em ee ert Pee CCC Cc ete aae ecm cmn t CCM aresn nr Re tects Re he saw on the surface. He was too superficial. The Rect ire eect cede ene Noma risked and lost their lives because of gold or because of some other superficial reason that really did not merit such a risk, The last sentence (line 69) Fee CCS ern TO ee Oe Cea buried in a beautiful and omate coffin and tomb that Rtn ne ew murat Cou e mai not prevent the dead body inside from rotting. The beauty on the outside holds ugliness on the inside The Prince’s golden casket, then, is a gold coffin in eR Merete eee arr ern tl! find the skull inside.19:26 OOM + Bins fer eee a eee ers The Prince of Morocco then sadly takes his EOE CRO Near oR ees een DS Soe an a eee RR Ere A conversation between Salerio and Solanio ae ee ee OT en Pro nee rtea ea First, the audience leams that Bassanio and ere Reece TE Ca nO oe Ce eee Me enn eT Ra en! ecu SN Senter his daughter and his money (ducats) are missing and has demanded that the Duke should search Bassanio’s ship. However, the Duke is too late; for Peon ee eho In addition to losing his money and Cote eam Ny Cfo aera Oe Tne cramer Perce oem cc Re ts Fee aoc Lie ta TCI OT stones, his daughter, and his dueats” (24). The boys Ceres i mares ata ant é reecomace wee me see19:26 OOM + St RRem LE Phe Merchant of Venice Peace RSMo Tes eee gee Scone Third, one of Antonio’s ships has suffered a CUR mc moe coe rem MLL CRNA NCR ee Sree oe eee) to Shylock, Salerio also tells Solanio that Antonio had told Bassanio to take his time and be a proper Reem et aera OC MES mem Ame Oat Pree a Ce erase Y Oe nae Cee MCT Ter TRC CeO eo ease Antonio and Shylock now starts to increase, At this POURRA cen eet cme eee TS CR oe Sous Back in Belmont another suitor to Portia is attempting to win her as his bride. The fairy-tale Per ARO ENE CO occa os OT Rec am cOMeaeC e Wesco Cet eC RO Ranma eC Ce Sed Deena eter enone tom aces establish a pattern that will conclude with the third attempt (by Bassanio in Act Ill, Seene 2). Similar to Morocco, the Prince of Aragon in the ninth scene ee Mem Ue ee CMA Ua) carefully, and chooses incorrectly19:26 OOM + SRR LE ior eee an ee ee “The third time’s the charm!” This is a popular idiomatic expression that rose to popularity during the nineteenth century. The expression that someone who fails to achieve a goal Cee Cn eM ae ema ese on the third try. ‘The origins of this expression. however, go back much earlier to folk tales and Cee een caer etc POMC cet Me ec tg tn especially follow the pattern of three. A good een unmet ce cr eer mT tale a magical imp or elf demands that a princess must hand over her child to him — as she had promised — unless she can guess his name in three days. At the end of the first wo days, the princess Pesce cco a aS MR UT eA Preece ae rce a Tr ect cme thus is able to keep her child, The Prince of Aragon, unfortunately, is making only the second attempt. Thus, in fairy-tale tradition, he cannot succeed. Even audiences back eRe on ier nC ee STE es eo See Se eMC esc To eee ome he a) eer Cra cs eT audience who will anticipate the expected outcome Ce me Oe oe me playwright handles the details. Moreover, as to the recom cor ae Cec Antonio and Shylock — the audience still remains facet)19:26 OOM + Bits ‘The Merchant of Venice rR gO ee eae Sa eS RO a Cee rer nen ag) Te Ce aca Toe ecru Rae n POSS ceca eres PO ae eC at ena SMe nha Ne a Nerney TS ace oO CS ne een Cn ese TT OM ume CLINT Tenmn icirece IRC) Rene eer oe Caer eS eum On on choice. The Prince rejects the lead casket, the inscription of which reads that he “must give and hazard all he hath” (20). He asserts that the casket must be fairer (more beautiful) before he would risk or gamble on it. Like Morocco, the Prince of Aragon is judging by appearances Ce soc eo Men cc am rer MOM mc mee em TT gain what many men desire” (23). The Prince Prac a OR AR foolish masses or multitude. The Prince of Aragon feels that he is superior to common men. Aragon is, then, a rather proud man. That leaves the silver casket, which carries crt a ee esgic eee ets as he deserves” (35). Because he is a proud man, the Prince of Aragon firmly believes that he is more19:26 OOM + SREY hor eee en ee deserving of Portia than any other man, The Prince then makes a short speech about honor and merit and the speech also serves the function of social rent eee To wear an undeserved dignity O, that estates, degrees, and offices Were not derived corruptly, and that clean honour eee see ean eres) ee ana Coe NT highly honored positions and high-ranking titles, but such men do not deserve these positions and titles because such men lack merit. They have done ProTeam cre Coma SCN ee NS Cn a aera) RCS een ae accneC Sector during the Renaissance the class system in England SES UCR ae OMCs Ri commoners unfairly and even cruelly at times. A key word in this speech is honor. Aristocrats felt Cra er Sn Coc oO honorable. Shakespeare, time and again in his ee CC Sa Shakespeare’s most glaring example of this idea Neem eer ecme me Cen Henry IV plays). Falstaff was a knight, an Ponce a Tene eM UC Mn teas) dishonor See corn rae ca cece etc ERR ce enn orc 7619:2706™ + SRL EY ‘The Merchant of Venice CR ea Uo a em ee can con casket, he instead finds a portrait of a fool or “idiot (3). The proud Prince is shocked by what he finds and asks, “Are my deserts no better?” (59). The Ne ara eee a en Tee AS eee cae NaC cSoa oa Ca ed foolish pride is a portrait of a fool ree cee eee Freer ome Aes NTR Trem eT Serie cack ap ec rety That did never choose amiss. (62-64) Dea eC CR aS ome ae TS word fried means purified. In order for the metal used on the casket to become one hundred percent SRC ROR eR ICM mar iny Peer ne Oe Reece eT oa eee eces te tm erc ee eCn Rea tute iae a ieee trials. The inscription thus indicates that the Prince of Aragon was lacking in judgment. He is not wise enough to make the right decision The next two lines of the inscription are as OTS Some there be that shadows kiss, Such have but a shadow’s bliss. (65-66)aE yyAOCh ig SRL EY or eee ne en STMT ce Cen Cee CO Celc MLC Col Co CO Pre eet eS OL Ce OD themselves that they kiss their own reflections (like Narcissus in the Greck myth). Egotistical self-love, the words s eee OSs aan The use of silver for this particular casket is Penn sco eer nes Tera ea Se NT Silvered o’er; and so was this. (67-68) aie ee coe meee y Penn a Cee en cam eTocs SCM agen eco mao TOrZ BU SOR Coote OR ics! Reece O mR feeling very much a fool, then quickly leaves Belmont. At the end of the scene, a messenger arrives POOR ete een ena se OM Pi eC San CRE eee Ct re aC a eee eeaE yyAOCh ig SREY ACT Ill Act III, Scene 1: If You Prick Us, DOR ars cated Back in Veni SEDO MEO MiSClLas OME Peon e nC ern t eeecT eer Seta eat me Seem kc eet Oe eee mien eee TY ea eek Nm oe a enemas Penn Sosa yore et ae nae Con Enel etm Tenant cme ie Lr Maa ET his money and jewels. Solanio and Salerio tease Shylock because they feel that he deserves the Pee ne ns ease ere a eS ts mentions his “daughter's flight” (22), that is, his Nae ero Co Ta Ceram Ce her to fly away (2 rere CMON ests hand, the word wings refers to a decorative flap on Ce orc La SSI Ed suggesting that he knew the person who helped or who caused Jessica to run away ORO Once enn On mn oer ROMS RO Lal) AI ece on CO ete ee erat their “dam” (meaning mother), Ses ee Wet Om eC Pe Teter eee Werte co car om own daughter19:2706™ + SRL EY ore ne re See uth a am OLy SOEUR RS On oe coe nen cae) Cr em nyo ee emcee ae ces OMe MSR ee eum nS PE reeset My own flesh and blood to rebel! (30) ae CN oe ae OE rarer = : OTN mn Cem Creme NS are RR cece ene ee TUCO ec oe ta the money. Shylock spitefully tells him that he Neen cece tes a Sn eRe eat than to be used as bait for fishes, the flesh will also ese COM ete Ne then launches into a well-known speech about his Arron emcee ren Uo CTY pte eee ee eee ee and experiences the same pains and joys as any Cont MMU mccain Umit eller lines:aE yyAOCh ig SREY ‘The Merchant of Venice If you prick us do we not bleed? If you ickle 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 Tera) Shylock does make some valid points. Jews in [ere emo mm Msc SAM eRe cmt Tam TM reac virtue of the true Christian, and hatred and spite are not aspects of Christian belief. Hatred and spite on either side will only contribute to further hatred, Se CMe ec ce Moreover, and more importantly, Shylock is not just any Jew. He is not a model or representative of his race. Shylock is, purely and simply, a villain. As noted earlier, Shylock does not represent the oes ee Nee GTI TCO Othello) represents all Christians. Shylock uses the plural pronoun ORC Cm CrP Meme not a tale of Jews versus Christians. It is a tale of FUCA CaN Ind ied Biches) cs kee interested in making sweeping social statements. Rather, his focus is on character, on the individual, ER ra eee interaetion of individual men Sere ee te eta Ta es cence ene Pea Teena cote emanate es Re ec eke a ees CS es CC SO CS Cece RCT ry19:2706™ + SRL EY ior eee ee ne CTR eC MET Co STE occ Mes TTC CONUS GM Mtn Mem ele ene eer eter and jewels that Jessica took with her: CNC moe een PIS RN coe emo Rac hearsed at my foot and the ducats in her Con CL eo} IU OURO CMe cM UES COURS Senet Re RCo Re ray fers to the gold coins. Shylock’s desire for Pe ee en ues his money. He wishes for his own daughter to be Perm NO Smee mm Se TV OCC Tee cc eC Ace Tom TSC no love in Shylock. There is no kindness in him. The lines here foreshadow how Shylock will later act toward Antonio, Just as he wishes for the death of his own daughter out of revenge, he will demand the death of Antonio for the same reason. Toward the end of the scene, Tubal informs Sic eee Ree Ug rs RCC Te aS NCS aad delighted to hear this news. He now knows that Antonio cannot pay him back. So, the malicious moneylender hurries to get an officer to demand the Pee)