merchant of venice line by line meaning

	Enter ANTONIO, SALARINO, and SOLANIO	ANTONIO, SALARINO, and SOLANIO enter.
5	ANTONIO In sooth, I know not why I am so sad. It wearies me; you say it wearies you. But how I caught it, found it, or came by it, What stuff ’tis made of, whereof it is born, I am to learn. And such a want-wit sadness makes of me, That I have much ado to know myself.	ANTONIO To be honest, I don’t know why I’m so sad. I’m tired of it, and you say you’re tired of it too. But I have no idea how I got so depressed. And if I can’t figure  out what’s making me depressed, I must not understand myself very well.
10	SALARINO Your mind is tossing on the ocean, There, where your argosies with portly sail, Like signors and rich burghers on the flood— Or, as it were, the pageants of the sea— Do overpeer the petty traffickers That curtsy to them, do them reverence As they fly by them with their woven wings.	SALARINO You’re worried about your ships. Your mind is out there getting tossed around on the ocean with  them. But they’re fine. They’re like huge parade floats on the sea. They’re so big they look down on the smaller ships, which all have to bow and then get out of the way. Your ships fly like birds past those little boats.
15 20	SOLANIO Believe me, sir, had I such venture forth, The better part of my affections would Be with my hopes abroad. I should be still Plucking the grass to know where sits the wind, Peering in maps for ports and piers and roads. And every object that might make me fear Misfortune to my ventures out of doubt Would make me sad.	SOLANIO Yes, believe me, if I had such risky business ventures in other countries, I’d be sad too. I’d worry about it every second. I’d constantly be tossing blades of grass into the air to find out which way  the wind was blowing. I’d be peering over maps to figure out the best ports, piers, and waterways. Everything that made me worry about my ships would make me sad.
25 30 35 40	SALARINO My wind cooling my broth     Would blow me to an ague when I thought What harm a wind too great at sea might do. I should not see the sandy hourglass run, But I should think of shallows and of flats And see my wealthy Andrew docked in sand, Vailing her high top lower than her ribs To kiss her burial. Should I go to church And see the holy edifice of stone And not bethink me straight of dangerous rocks, Which, touching but my gentle vessel’s side, Would scatter all her spices on the stream, Enrobe the roaring waters with my silks, And, in a word, but even now worth this, And now worth nothing? Shall I have the thought To think on this, and shall I lack the thought That such a thing bechanced would make me sad? But tell not me. I know Antonio Is sad to think upon his merchandise.	SALARINO I’d get scared every time I blew on my soup to cool it, thinking of how a strong wind could wipe out my ships. Every time I glanced at the sand in an hourglass I’d imagine my ships wrecked on sandbars. I’d think of dangerous rocks every time I went to church and saw the stones it was made of. If my ship brushed up against rocks like that, its whole cargo of spices would be dumped into the sea. All of its silk shipments would be sent flying into the roaring waters. In one moment I’d go bankrupt. Who wouldn’t get sad thinking about things like that? It’s obvious. Antonio is sad  because he’s so worried about his cargo.
45	ANTONIO Believe me, no. I thank my fortune for it— My ventures are not in one bottom trusted, Nor to one place, nor is my whole estate Upon the fortune of this present year. Therefore my merchandise makes me not sad.	ANTONIO No, that’s not it, trust me. Thankfully my financial situation is healthy. I don’t have all of my money invested in one ship, or one part of the world. If I don’t do well this year, I’ll still be okay. So it’s not my business that’s making me sad.
	SOLANIO Why then, you are in love.	SOLANIO Well then, you must be in love.
	ANTONIO Fie, fie!	ANTONIO Oh, give me a break.
50	SOLANIO Not in love neither? Then let us say you are sad Because you are not merry—and ’twere as easy For you to laugh and leap and say you are merry Because you are not sad. Now, by two-headed Janus, Nature hath framed strange fellows in her time.	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.

55	Some that will evermore peep through their eyes And laugh like parrots at a bagpiper, And other of such vinegar aspect That they’ll not show their teeth in way of smile Though Nestor swear the jest be laughable.	Some people will laugh at anything, and others are so grouchy they won’t even crack a smile when  they hear something hysterically funny.
	Enter BASSANIO, LORENZO, and GRATIANO	BASSANIO, LORENZO, and GRATIANO enter.
	Here comes Bassanio, your most noble kinsman, Gratiano, and Lorenzo. Fare ye well. We leave you now with better company.	Here comes your cousin Bassanio. And Gratiano and Lorenzo too. Goodbye, then. We’ll leave you to talk to them. They’re better company.
60	SALARINO I would have stayed till I had made you merry If worthier friends had not prevented me.	SALARINO I would’ve stayed to cheer you up, if your nobler friends hadn’t shown up.
	ANTONIO Your worth is very dear in my regard. I take it your own business calls on you And you embrace th' occasion to depart.	ANTONIO You’re both very precious to me. But I understand. You need to leave to take care of your own business.
65	SALARINO (to BASSANIO, LORENZO, GRATIANO) Good morrow, my good lords.	SALARINO (to BASSANIO, LORENZO, and GRATIANO) Good morning, gentlemen.
	BASSANIO (to SALARINO and SOLANIO) Good signors both, when shall we laugh? Say, when? You grow exceeding strange. Must it be so?	BASSANIO (to SALARINO and SOLANIO) Hello, friends.  When are we going to have fun together again? Just name the time. We never see you anymore. Does it have to be that way?
70	SALARINO We’ll make our leisures to attend on yours.	SALARINO Let us know when you want to get together. We’re available.
	Exeunt SALARINO and SOLANIO	SALARINO and SOLANIO exit.
	LORENZO My Lord Bassanio, since you have found Antonio, We two will leave you. But at dinnertime I pray you have in mind where we must meet.	LORENZO Bassanio, we’ll say goodbye for now, since you’ve found Antonio. But don’t forget, we’re meeting for dinner tonight.
	BASSANIO I will not fail you.	BASSANIO Don’t worry, I’ll be there.
75	GRATIANO You look not well, Signor Antonio. You have too much respect upon the world. They lose it that do buy it with much care. Believe me, you are marvelously changed.	GRATIANO You don’t look well, Antonio. You’re taking things  too seriously. People with too much invested in the world always get hurt. I’m telling you, you don’t    look like yourself.
80	ANTONIO I hold the world but as the world, Gratiano— A stage where every man must play a part, And mine a sad one.	ANTONIO For me the world is just the world, Gratiano—a  stage where every person has a part to play. I play a sad one.
85 90 95 100 105	GRATIANO Let me play the fool.     With mirth and laughter let old wrinkles come. And let my liver rather heat with wine Than my heart cool with mortifying groans. Why should a man whose blood is warm within Sit like his grandsire cut in alabaster, Sleep when he wakes, and creep into the jaundice By being peevish? I tell thee what, Antonio— I love thee, and ’tis my love that speaks— There are a sort of men whose visages Do cream and mantle like a standing pond, And do a willful stillness entertain With purpose to be dressed in an opinion Of wisdom, gravity, profound conceit, As who should say, “I am Sir Oracle, And when I ope my lips, let no dog bark!” O my Antonio, I do know of these That therefore only are reputed wise For saying nothing, when I am very sure If they should speak, would almost damn those ears Which, hearing them, would call their brothers fools. I’ll tell thee more of this another time. But fish not with this melancholy bait For this fool gudgeon, this opinion.— Come, good Lorenzo.—Fare ye well awhile. I’ll end my exhortation after dinner.	GRATIANO Then I’ll play the happy fool and get laugh lines on my face. I’d rather overload my liver with wine than starve my heart by denying myself fun. Why should any living man sit still like a statue? Why should he sleep when he’s awake? Why should he get ulcers from being crabby all the time? I love you, and I’m telling you this because I care about you, Antonio—there are men who always look serious. Their faces never move or show any expression, like stagnant ponds covered with scum. They’re silent and stern, and they think they’re wise and deep, important    and respectable. When they talk, they think everybody else should keep quiet, and that even dogs should stop barking. I know a lot of men like that, Antonio. The only reason they’re considered wise is because they don’t say anything. I’m sure if they ever opened their mouths, everyone would    see what fools they are. I’ll talk to you more about this some other time. In the meantime, cheer up. Don’t go around looking so glum. That’s my opinion, but what do I know? I’m a fool.—Let’s go, Lorenzo.—Goodbye for now. I’ll finish my lecture after dinner.
	LORENZO Well, we will leave you then till dinnertime. I must be one of these same dumb wise men, For Gratiano never lets me speak.	LORENZO All right, we’ll see you at dinnertime. I must be one  of these silent so-called wise men  Gratiano’s           talking about, because he never lets me get a word in.
110	GRATIANO Well, keep me company but two years more, Thou shalt not know the sound of thine own tongue.	GRATIANO If you hang around me for two more years, you’ll forget the sound of your own voice. I won’t ever let you speak.
	ANTONIO Farewell. I’ll grow a talker for this gear.	ANTONIO Goodbye. After that lecture of yours, I’ll start talking  a lot.
	GRATIANO Thanks, i' faith, for silence is only commendable In a neat’s tongue dried and a maid not vendible.	GRATIANO Thank you. The only tongues that should be silent are ox-tongues on a dinner plate and those that belong to old maids.
	Exeunt GRATIANO and LORENZO	GRATIANO and LORENZO exit.
115	ANTONIO Is that any thing now?	ANTONIO Is he right?
	BASSANIO Gratiano speaks an infinite deal of nothing, more than any man in all Venice. His reasons are as two grains of wheat hid in two bushels of chaff—you shall seek all day ere you find them, and when you have them they are not worth the search.	BASSANIO Gratiano talks more nonsense than any other man  in Venice. His point is always like a needle in a haystack—you look for it all day, and when you  find it you realize it wasn’t worth the trouble.
	ANTONIO Well, tell me now what lady is the same To whom you swore a secret pilgrimage, That you today promised to tell me of?	ANTONIO So, who’s this girl, the one you said you were  going to take a special trip for? You promised to  tell me.
125	BASSANIO 'Tis not unknown to you, Antonio, How much I have disabled mine estate, By something showing a more swelling port Than my faint means would grant continuance. Nor do I now make moan to be abridged From such a noble rate. But my chief care	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.
130 135	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.	I just want to be honorable and pay off the big    debts that piled up when I was living the high life.  I’m in debt to many people, and I owe most to you, Antonio—both money and gratitude. And because you care about me, I know you’ll let me tell you my plan to clear all my debts.
140	ANTONIO I pray you, good Bassanio, let me know it. And if it stand, as you yourself still do, Within the eye of honor, be assured My purse, my person, my extremest means Lie all unlocked to your occasions.	ANTONIO Please let me know your plan, Bassanio. As long    as it’s honorable, you can be sure that I’ll let you   use all my money and do everything I can to help you.
145 150	BASSANIO In my school days, when I had lost one shaft, I shot his fellow of the selfsame flight The selfsame way with more advisèd watch To find the other forth—and by adventuring both, I oft found both. I urge this childhood proof Because what follows is pure innocence. I owe you much, and, like a willful youth, That which I owe is lost. But if you please To shoot another arrow that self way Which you did shoot the first, I do not doubt, As I will watch the aim, or to find both Or bring your latter hazard back again And thankfully rest debtor for the first.	BASSANIO Back when I was a schoolboy, if I lost an arrow I would try to find it by shooting another arrow in the same direction, watching the second arrow more carefully than I had the first. By risking the second arrow, I’d often get both of them back. I’m telling   you this story for a reason. I owe you a lot, and like  a spoiled kid I’ve lost what I owe you. But if you’d   be willing to shoot another arrow the same way    you shot the first, I’ll watch your arrow more   carefully this time. Either we’ll get back all the  money I owe you, or else we’ll get back what you lend me this time, and I’ll just owe you what I  already owe you.
155 160	ANTONIO You know me well, and herein spend but time To wind about my love with circumstance. And out of doubt you do me now more wrong In making question of my uttermost Than if you had made waste of all I have. Then do but say to me what I should do That in your knowledge may by me be done, And I am pressed unto it. Therefore speak.	ANTONIO You know me better than that. You’re wasting your breath. All of this talk means you have doubts    about my friendship. That’s worse than if you bankrupted me. Just tell me what to do, and I’ll do it. Tell me.
165 170 175	BASSANIO In Belmont is a lady richly left, And she is fair and—fairer than that word— Of wondrous virtues. Sometimes from her eyes I did receive fair speechless messages. Her name is Portia, nothing undervalued To Cato’s daughter, Brutus' Portia. Nor is the wide world ignorant of her worth, For the four winds blow in from every coast Renownèd suitors, and her sunny locks Hang on her temples like a golden fleece, Which makes her seat of Belmont Colchos' strand, And many Jasons come in quest of her. O my Antonio, had I but the means To hold a rival place with one of them, I have a mind presages me such thrift That I should questionless be fortunate!	BASSANIO There’s a girl in Belmont who’s inherited a huge amount of money, and she’s beautiful and—even better—she’s a good person. I think she likes me. Sometimes the expression on her face tells me she likes me. Her name is Portia. She’s as rich as that famous Roman heroine Portia, the daughter of    Cato and wife of Brutus. Her wealth is world-famous. Famous and important men have come in from all over the world to try to marry her. The hair that hangs down on her forehead is like gold, calling every adventurer to Belmont like a gold  rush. Antonio, if I only had enough money to hold my own against those suitors, I know I could win her!
180 185	ANTONIO Thou know’st that all my fortunes are at sea. Neither have I money nor commodity To raise a present sum. Therefore go forth, Try what my credit can in Venice do— That shall be racked even to the uttermost To furnish thee to Belmont, to fair Portia. Go presently inquire, and so will I, Where money is, and I no question make To have it of my trust or for my sake.	ANTONIO You know right now all my money’s tied up in that cargo that’s still at sea. I can’t give you the cash you need because I don’t have it. But go ahead  and charge things to me on credit, as much credit as I can get in Venice. I’ll use all my lines of credit to help you get to Belmont, to Portia. Go see who will lend money, and I’ll do the same. I’m sure I can get something either as a business loan, or as a personal favor.
	Exeunt	They exit.
	NERISSA You would be, sweet madam, if your miseries were in the same abundance as your good fortunes are. And yet for aught I see, they are as sick that surfeit with too much as they that starve with nothing. It is no mean happiness, therefore, to be seated in the mean. Superfluity comes sooner by white hairs, but competency lives longer.	NERISSA You’d be tired, madam, if you had bad luck rather  than wealth and good luck. But as far as I can tell, people with too much suffer as much as people with nothing. The best way to be happy is to be in between. When you have too much you get old sooner, but having just enough helps you live longer.
	PORTIA Good sentences, and well pronounced.	PORTIA Good point, and well said.
10	NERISSA They would be better if well followed.	NERISSA It would be better if you actually applied it to your life.
	PORTIA If to do were as easy as to know what were good to do, chapels had been churches and poor men’s cottages princes' palaces. It is a good divine that follows his own instructions. I can easier teach twenty what were good to be done than be one of the twenty to follow mine own teaching. The brain may devise laws for the blood, but a hot temper leaps o'er a cold decree. Such a hare is madness the youth—to skip o'er the meshes of good counsel the cripple. But this reasoning is not in the fashion to choose me a husband. O me, the word “choose!” I may neither choose whom I would nor refuse whom I dislike—so is the will of a living daughter curbed by the will of a dead father. Is it not hard, Nerissa, that I cannot choose one nor refuse none?	PORTIA You think it’s that easy? If doing good deeds were as easy as knowing how to do them, then everyone would be better off. Small chapels would be big churches, and poor men’s cottages would be princes' palaces. It takes a good priest to practice what he preaches. For me, it’s easier to lecture twenty people on how to be good than to be the one person out of twenty who actually does good things. The brain can tell the heart what to do, but what does it matter?  Cold rules don’t matter when you’ve got a hot temper. Young people are like frisky young rabbits, and good advice is like a crippled old man trying to catch them. But thinking like this won’t help me choose a  husband. Oh, the word “choose” is strange! I can’t choose who  I like, or refuse who I dislike. I’m a living daughter still controlled by the wishes of her dead father. Isn’t it a pain that I can’t choose or refuse anyone, Nerissa?
25	NERISSA Your father was ever virtuous, and holy men at their death have good inspirations. Therefore the lottery that he hath devised in these three chests of gold, silver, and lead, whereof who chooses his meaning chooses you, will no doubt never be chosen by any rightly but one who shall rightly love. But what warmth is there in your affection towards any of these princely suitors that are already come?	NERISSA Your father was an extremely moral man, and religious people get odd ideas on their deathbeds. Your father’s idea was to have a game with three boxes. The suitor who can figure out whether to pick the gold, silver, or lead box will solve your father’s riddle—and that suitor’s the man for you. No one will ever choose the right box who doesn’t deserve your love. But tell me. Do you like any of the princely suitors who’ve come?
	PORTIA I pray thee, overname them. And as thou namest them, I will describe them. And according to my description, level at my affection.	PORTIA Run through the list. As you name them I’ll describe them for you, and from my descriptions you can  guess how I feel toward them.
	NERISSA First, there is the Neapolitan prince.	NERISSA Well, first there was the prince from Naples.
	PORTIA Ay, that’s a colt indeed, for he doth nothing but talk of his horse, and he makes it a great appropriation to his own good parts that he can shoe him himself. I am much afeard my lady his mother played false with a smith.	PORTIA Ah, yes, that stallion. All he talks about is his horse. He thinks it’s a great credit to his character that he can shoe a horse all by himself. I’m afraid his mother may have had an affair with a blacksmith.
	NERISSA Then there is the County Palatine.	NERISSA Then there’s the Count Palatine.
	PORTIA He doth nothing but frown, as who should say, “An you will not have me, choose.” He hears merry tales and smiles not. I fear he will prove the weeping philosopher when he grows old, being so full of unmannerly sadness in his youth. I had rather be married to a death’s-head with a bone in his mouth than to either of these. God defend me from these two!	PORTIA He does nothing but frown, as if he wants to say, “If you don’t want me, I don’t care.” He doesn’t even smile when he hears funny stories. If he’s so sad and solemn when he’s young, I can only imagine how much he’ll cry as an old man. No, I’d rather be  married to a skull with a bone in its mouth than to either of those men. God protect me from these two!
	NERISSA How say you by the French lord, Monsieur le Bon?	NERISSA What did you think about that French lord,  Monsieur le Bon?
50	PORTIA God made him and therefore let him pass for a man. In truth, I know it is a sin to be a mocker, but he!—why, he hath a horse better than the Neapolitan’s, a better bad habit of frowning than the Count Palatine. He is every man in no man. If a throstle sing, he falls straight a- capering. He will fence with his own shadow. If I should marry him, I should marry twenty husbands. If he would despise me I would forgive him, for if he love me to madness I shall never requite him.	PORTIA We might as well call him a man, since God created him. No, I know it’s bad to make fun of people, but still! His horse is better than the Neapolitan’s and he frowns more than the Count Palatine. He was trying  to outdo everyone so much that you couldn’t tell who he was. He started dancing every time a bird sang, and he was so eager to show off his fencing that he’d fight with his own shadow. If I married him, I might as well as marry twenty husbands, because he’s like twenty men all rolled into one! I’d understand it if he hated me, since even if he loved me desperately, I’d never be able to love him back.
60	NERISSA What say you then to Falconbridge, the young baron of England?	NERISSA What about Falconbridge, that young English baron?
	PORTIA You know I say nothing to him, for he understands not me, nor I him. He hath neither Latin, French, nor Italian, and you will come into the court and swear that I have a poor pennyworth in the English. He is a proper man’s picture, but alas, who can converse with a dumb show? How oddly he is suited! I think he bought his doublet in Italy, his round hose in France, his bonnet in Germany, and his behavior everywhere.	PORTIA I have no opinion about him. We don’t talk because we don’t understand each other. He doesn’t speak Latin, French, or Italian, and you know how little English I speak. He’s great-looking, but how can you talk to someone who doesn’t speak your language? He was dressed so oddly too! I think he got his    jacket in Italy, his tights in France, his hat in  Germany, and his behavior everywhere.
	NERISSA What think you of the Scottish lord, his neighbor?	NERISSA What do you think of his neighbor, the Scottish lord?
70	PORTIA That he hath a neighborly charity in him, for he borrowed a box of the ear of the Englishman and swore he would pay him again when he was able. I think the Frenchman became his surety and sealed under for another.	PORTIA I think he’s very forgiving, since he let the   Englishman slap him on the ear without hitting him back. Rather than defend himself, he just threatened to pay the Englishman back later. Then the Frenchman promised to help the Scot pay the Englishman back, and added a slap of his own.
	PORTIA Very vilely in the morning, when he is sober, and most vilely in the afternoon, when he is drunk. When he is best he is a little worse than a man, and when he is worst he is little better than a beast. And the worst fall that ever fell, I hope I shall make shift to go without him.	PORTIA He’s pretty awful in the morning when he’s sobering up, and even worse in the afternoon when he’s  drunk. At his best he’s a little less than a man, and    at his worst he’s little more than an animal. If we got married and he tragically met his demise, I’m sure I could find a way to go on without him.
	NERISSA If he should offer to choose and choose the right casket, you should refuse to perform your father’s will if you should refuse to accept him.	NERISSA If he offers to play the game and chooses the right box, but then you reject him, you’ll be disobeying  your father’s last wishes.
	PORTIA Therefore, for fear of the worst, I pray thee, set a deep glass of rhenish wine on the contrary casket, for if the devil be within and that temptation without, I know he will choose it. I will do any thing, Nerissa, ere I’ll be married to a sponge.	PORTIA I know. So please put a nice big glass of white wine on the wrong box. I know he’ll get tempted and choose that one. I’ll do anything rather than marry a drunk, Nerissa.
	NERISSA You need not fear, lady, the having any of these lords. They have acquainted me with their determinations, which is indeed to return to their home and to trouble you with no more suit unless you may be won by some other sort than your father’s imposition depending on the caskets.	NERISSA You don’t have to worry about any of these lords, my lady. They’ve all told me what they want, which is to go back home and give up on you—unless there was some other way to win you than your father’s  pick-the-box test.
95	PORTIA If I live to be as old as Sibylla, I will die as chaste as Diana unless I be obtained by the manner of my father’s will. I am glad this parcel of wooers are so reasonable, for there is not one among them but I dote on his very absence. And I pray God grant them a fair departure.	PORTIA I’ll die an old maid unless I can be won according to the rules set by my father’s will. I’m glad these   suitors are sensible enough to stay away. The only thing I like about them is that they’re not there. I wish them all safe trips home.
100	NERISSA Do you not remember, lady, in your father’s time a Venetian, a scholar and a soldier, that came hither in company of the Marquess of Montferrat?	NERISSA Do you remember a Venetian scholar and soldier  who accompanied the marquess of Montferrat here once when your father was still alive?

     

	NERISSA True, madam. He, of all the men that ever my foolish eyes looked upon, was the best deserving a fair lady.			NERISSA Yes, madam, that’s the one. He deserves a beautiful wife more than all the other men I’ve ever seen.
	PORTIA I remember him well, and I remember him worthy of thy praise.			PORTIA I remember him well, and my memory tells me that   he deserves your praise.
	Enter a SERVINGMAN			A SERVANT enters.
	How now, what news?			Hello, do you have any news?
	SERVINGMAN The four strangers seek for you, madam, to take their leave. And there is a forerunner come from a fifth, the Prince of Morocco, who brings word the prince his master will be here tonight.			SERVANT The four suitors are looking for you so they can say goodbye, madam. And there’s a messenger representing a fifth one, the prince of Morocco, who says the prince will be here tonight.
	PORTIA If I could bid the fifth welcome with so good a heart as I can bid the other four farewell, I should be glad of his approach. If he have the condition of a saint and the complexion of a devil, I had rather he should shrive me than wive me. Come, Nerissa.—(to SERVANT) Sirrah, go before. Whiles we shut the gates upon one wooer Another knocks at the door.			PORTIA If I could say hello to the fifth one as happily as I’ll   say goodbye to the first four, I’d be very happy he’s coming. If he’s as good as a saint but is black like a devil, I’d rather he hear my confession than marry  me. Let’s go, Nerissa.—(to the SERVANT) Go ahead. As soon as we shut the door on one suitor, another one starts knocking.
		BASSANIO Ay, sir, for three months.		BASSANIO Yes, for three months.
		SHYLOCK For three months, well.		SHYLOCK For three months, hmmm.
		BASSANIO For the which, as I told you, Antonio shall be bound.		BASSANIO As I said before, Antonio will guarantee the loan. If      I default, he’ll pay you.
5		SHYLOCK Antonio shall become bound, well.		SHYLOCK Antonio will guarantee it, hmmm.
		BASSANIO May you stead me? Will you pleasure me? Shall I know your answer?		BASSANIO Can you help me? What’s your answer?
		SHYLOCK Three thousand ducats for three months, and Antonio bound.		SHYLOCK Three thousand ducats for three months, and   Antonio will guarantee it.
10		BASSANIO Your answer to that?		BASSANIO Your answer?
		SHYLOCK Antonio is a good man.		SHYLOCK Antonio’s a good man.
		BASSANIO Have you heard any imputation to the contrary?		BASSANIO Have you heard anything to the contrary?
		SHYLOCK Ho, no, no, no, no. My meaning in saying he is a good man is to have you understand me that he is sufficient. Yet his means are in supposition. He hath an argosy bound to Tripolis, another to the Indies. I understand moreover, upon the Rialto, he hath a third at Mexico, a fourth for England, and other ventures he hath squandered abroad. But ships are but boards, sailors but men. There be land rats and water rats, water thieves and land thieves—I mean pirates—and then there is the peril of waters, winds, and rocks. The man is notwithstanding sufficient BASSANIO Be assured you may SHYLOCK I will be assured I may, and that I may be assured, I will bethink me. May I speak with Antonio? BASSANIO If it please you to dine with us. SHYLOCK Yes—to smell pork, to eat of the habitation which your prophet the Nazarite conjured the devil into. I will buy with you, sell with you, talk with you, walk with you, and so following, but I will not eat with you, drink with you, nor pray with you. What news on the Rialto? Who is he comes here ENTER ANTONIO		SHYLOCK What? No, no, no, no. What I meant in saying   he’s a good man is that he has enough money to guarantee the loan. But his investments are uncertain right now. He has one ship bound for Tripoli, another heading for the Indies. What’s more, people at the  RIALTO The Rialto is the business district of Venice,  where the merchants meet. Rialto tell me he has a third ship in Mexico, and a fourth in England, as well as other business ventures throughout the world. But ships are just fragile boards, and sailors are just men. There are  rats and thieves and pirates—not to mention storms, winds, and rocks. Anything could happen. But   in spite of all this, the man is still wealthy enough.   Three thousand ducats—I think I can let him guarantee your loan. BASSANIO I assure you he can. SHYLOCK I will be sure he can, before I make the loan. And I’ll think of a way to be sure. Can I speak with Antonio? BASSANIO If you like, you can dine with us. SHYLOCK Oh yes- to smell pork? I don’t think so! Your prophet Jesus sent the devil into a herd of pigs. I’m not going to eat that. I’ll buy with you, sell with  you, talk with you, walk with you, and so on, but I won’t eat with you, drink with you, or pray with you. Any news on the Rialto? Who’s that? ANTONIO ENTERS
			BASSANIO This is Signor Antonio.	BASSANIO This is Signor Antonio.
35 40			SHYLOCK (aside) How like a fawning publican he looks! I hate him for he is a Christian, But more for that in low simplicity He lends out money gratis and brings down The rate of usance here with us in Venice. If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him. He hates our sacred nation, and he rails, Even there where merchants most do congregate, On me, my bargains and my well-won thrift,	SHYLOCK (to himself) He looks just like a guy who’s robbed me but now comes to beg me for a favor! I hate him because he’s a Christian. But more than that, I hate him because he stupidly lends money without  interest, which lowers the interest rates here in Venice. If I can just get the upper hand of him once,  I’ll satisfy my old grudge against him. He hates Jews. Even at the Rialto he’s always complaining about me and my negotiating and my hard-earned profits,   which he calls “interest.”
45			BASSANIO Shylock, do you hear?	BASSANIO Shylock, are you listening?
50			SHYLOCK I am debating of my present store, And by the near guess of my memory I cannot instantly raise up the gross Of full three thousand ducats. What of that? Tubal, a wealthy Hebrew of my tribe, Will furnish me. But soft! How many months Do you desire? (to ANTONIO) Rest you fair, good signor.    Your worship was the last man in our mouths.	SHYLOCK I’m thinking about how much cash I have on hand.     If I remember correctly, I can’t raise the entire three thousand ducats immediately. But so what? Tubal, a wealthy Jew I know, will supply me with the cash.    But wait a minute! How many months do you want? (toANTONIO) Oh, hello, how are you,     signor? We were just talking about you.
55 60			ANTONIO Shylock, albeit I neither lend nor borrow By taking nor by giving of excess, Yet to supply the ripe wants of my friend, I’ll break a custom. (to BASSANIO) Is he yet possessed    How much ye would?	ANTONIO Shylock, although I never lend or borrow with   interest, I’m willing to break that habit to help a friend in need.(to BASSANIO) Does he know how much   you need?
			SHYLOCK Ay, ay, three thousand ducats.	SHYLOCK Oh yes, three thousand ducats.
			ANTONIO And for three months.	ANTONIO For three months.
65			SHYLOCK I had forgot—three months. (to BASSANIO) You told me so.     (to ANTONIO) Well then, your bond, and let me see—But hear you, Me thought you said you neither lend nor borrow Upon advantage. ANTONIO  I do never use it.	SHYLOCK Yes, I forgot—three months. (to BASSANIO)   You told me that. (to ANTONIO) Now then, about your guarantee. Let me see—but listen, Antonio, I    thought you said you don’t lend or borrow with interest. ANTONIO That’s right. That’s not how I do business.
70			SHYLOCK When Jacob grazed his uncle Laban’s sheep— This Jacob from our holy Abram was, As his wise mother wrought in his behalf, The third possessor, ay, he was the third—	SHYLOCK When Jacob took care of his uncle Laban’s sheep—Jacob was the heir to his grandfather Abraham’s birthright, because his mother   cleverly arranged for her husband Isaac to make Jacob his heir—
			ANTONIO And what of him? Did he take interest?	ANTONIO What’s your point? Did he charge interest?
75 80 85			SHYLOCK No, not take interest—not as you would say Directly interest. Mark what Jacob did: When Laban and himself were compromised That all the eanlings which were streaked and pied Should fall as Jacob’s hire, the ewes, being rank, In the end of autumn turnèd to the rams. And when the work of generation was Between these woolly breeders in the act, The skillful shepherd peeled me certain wands. And in the doing of the deed of kind He stuck them up before the fulsome ewes, Who then conceiving did in eaning time Fall parti-colored lambs—and those were Jacob’s. This was a way to thrive, and he was blessed. And thrift is blessing, if men steal it not.	SHYLOCK No, he didn’t  CHARGE INTEREST Shylock uses a story of Jacob from Genesis 30:25–43 to defend his practice of charging interest. charge interest—not in your sense of the word. But listen to what Jacob did. When he and     Laban agreed that all the spotted lambs would be Jacob’s pay, it was the end of autumn, when the sheep were starting to mate. Because newborns look like whatever their mother sees during mating, he stuck some spotted branches into the ground right in front of the sheep, who saw them while they mated. The mothers later gave birth to spotted lambs, all of which went to Jacob. That was his way of expanding his business, and it worked. My point is that profit is a blessing, as long as you don’t steal to get it.
90			ANTONIO This was a venture, sir, that Jacob served for— A thing not in his power to bring to pass But swayed and fashioned by the hand of heaven. Was this inserted to make interest good? Or is your gold and silver ewes and rams?	ANTONIO That business venture you’re referring to happened because God made it happen like that. Jacob didn’t have any control over what happened. Are you saying this story proves that charging interest makes sense? That your  interest payments are like Jacob’s sheep?
95			SHYLOCK I cannot tell: I make it breed as fast. But note me, signor—	SHYLOCK I can hardly tell the difference; I make my money multiply as fast as those sheep. But listen to me, signor—
100			ANTONIO Mark you this, Bassanio,     The devil can cite Scripture for his purpose. An evil soul producing holy witness Is like a villain with a smiling cheek, A goodly apple rotten at the heart. Oh, what a goodly outside falsehood hath!	ANTONIO Watch out, Bassanio. The devil can quote Scripture for his own use. An evil soul using a holy story is like  a criminal who smiles at you. He looks like a good apple but he’s rotten at the core. Oh, liars can look so honest!
			SHYLOCK Three thousand ducats—’tis a good round sum. Three months from twelve, then. Let me see. The rate—	SHYLOCK Three thousand ducats. That’s a nice even sum. Three months from twelve months of the year.  Let me see. The interest rate will be—
			ANTONIO Well, Shylock, shall we be beholding to you?	ANTONIO Well, Shylock? Are you going to loan us the money?
105 110 115 120			SHYLOCK Signor Antonio, many a time and oft In the Rialto you have rated me About my moneys and my usances. Still have I borne it with a patient shrug, For sufferance is the badge of all our tribe. You call me misbeliever, cutthroat dog, And spet upon my Jewish gaberdine— And all for use of that which is mine own. Well then, it now appears you need my help. Go to, then! You come to me and you say, “Shylock, we would have moneys.” You say so!— You, that did void your rheum upon my beard And foot me as you spurn a stranger cur Over your threshold! Moneys is your suit. What should I say to you? Should I not say, “Hath a dog money? Is it possible A cur can lend three thousand ducats?” Or Shall I bend low and in a bondman’s key With bated breath and whispering humbleness Say this:	SHYLOCK Signor Antonio, you’ve often insulted my money and my business practices in the Rialto. I have always  just shrugged and put up with it because Jews are good at suffering. You called me a heathen, a dirty dog, and you spit on my Jewish clothes. And all because I use my own money to make a profit. And now it looks like you need my help. All right then. You come to me saying, “Shylock, we need money.” You say that!—even though you spat on my beard and kicked me like you’d kick a stray mutt out your front door. And now you’re asking for money. What can I tell you? Shouldn’t I say, “Does a dog have money?  Is it possible for a mutt to lend three thousand ducats?” Or should I bend down low, and in a humble and submissive voice say:
125			“Fair sir, you spet on me on Wednesday last; You spurned me such a day; another time You called me ’dog'—and for these courtesies I’ll lend you thus much moneys?”	“Sir, last Wednesday you spit on me. You insulted   me on this day, and another time you called me a  dog. And out of gratitude for these favors, I’ll be  happy to lend you the money?”
130 135			ANTONIO I am as like to call thee so again, To spet on thee again, to spurn thee too. If thou wilt lend this money, lend it not As to thy friends, for when did friendship take A breed for barren metal of his friend? But lend it rather to thine enemy, Who, if he break, thou mayst with better face Exact the penalty.	ANTONIO I’ll probably call you those names again and spit on you, and reject you again too. If you’re going to lend us this money, don’t lend it to us as if we were your friends. When did friends charge interest? Instead, lend it to me as your enemy. If your enemy goes bankrupt, it’s easier for you to take your penalty from him.
140			SHYLOCK Why, look you how you storm!    I would be friends with you and have your love, Forget the shames that you have stained me with, Supply your present wants and take no doit Of usance for my moneys—and you’ll not hear me! This is kind I offer.	SHYLOCK Look at you getting all riled up! I want to be friends with you, and forget all the times you’ve embarrassed and humiliated me. I want to give you what you need, and not charge a penny of interest—but you won’t listen to me! I’m making a kind offer—zero percent financing.
			BASSANIO This were kindness.	BASSANIO That really would be kind.
145			SHYLOCK This kindness will I show. Go with me to a notary, seal me there Your single bond, and—in a merry sport— If you repay me not on such a day, In such a place, such sum or sums as are Expressed in the condition, let the forfeit Be nominated for an equal pound Of your fair flesh, to be cut off and taken In what part of your body pleaseth me.	SHYLOCK I’ll show you how kind I am. Come with me to a   notary and we’ll make it official. And let’s add a little clause just for a joke. If you don’t repay me on the  day we agree on, in the place we name, for the sum  of money fixed in our contract, your penalty will be a pound of your pretty flesh, to be cut off and taken out of whatever part of your body I like.
150			ANTONIO Content, in faith. I’ll seal to such a bond, And say there is much kindness in the Jew.	ANTONIO It’s a deal. I’ll agree to those terms and even say that Jews are nice.
			BASSANIO You shall not seal to such a bond for me! I’ll rather dwell in my necessity.	BASSANIO No, you can’t sign a contract like that for me! I’d rather go without the money.
155			ANTONIO Why, fear not, man. I will not forfeit it. Within these two months—that’s a month before This bond expires—I do expect return Of thrice three times the value of this bond.	ANTONIO Don’t worry about it, man, I won’t have to pay any penalty. In two months—a month before this loan is due—I expect to earn more than three times that much from my investments.
160 165			SHYLOCK O Father Abram, what these Christians are, Whose own hard dealings teaches them suspect The thoughts of others!—Pray you, tell me this: If he should break his day, what should I gain By the exaction of the forfeiture? A pound of man’s flesh taken from a man Is not so estimable, profitable neither, As flesh of muttons, beefs, or goats. I say, To buy his favor I extend this friendship. If he will take it, so. If not, adieu. And for my love I pray you wrong me not.	SHYLOCK Oh father Abraham, what kind of people are these Christians? Their own meanness teaches them to suspect other people!—Please tell me this. If he fails to repay me by the deadline, what would I get out of such a penalty? A pound of human flesh taken isn’t even as valuable as a pound of mutton or beef. I’m just offering this as a favor to a friend. If he agrees, great. If not, goodbye. And I hope you won’t think badly of me.
			ANTONIO Yes, Shylock, I will seal unto this bond.	ANTONIO Yes, Shylock, I’ll sign the contract and agree to its terms.
170 175			SHYLOCK Then meet me forthwith at the notary’s. Give him direction for this merry bond, And I will go and purse the ducats straight, See to my house left in the fearful guard Of an unthrifty knave, and presently I will be with you.	SHYLOCK Then meet me right away at the notary’s. Give him  the instructions for our amusing little contract, and I’ll go get the money for you right away. I need to check in at home first, because one of my careless   servants is in charge right now. I’ll see you soon.
			ANTONIO Hie thee, gentle Jew.	ANTONIO Hurry up, my Jewish friend.
			Exit SHYLOCK	SHYLOCK exits.
			The Hebrew will turn Christian. He grows kind.	He’s so kind you’d think the Jew is turning Christian.
180		ANTONIO Come on. In this there can be no dismay. My ships come home a month before the day.		ANTONIO Come on, there’s no reason to worry. My ships will come home a month before the money is due.
		Exeunt		They exit.

	ORIGINAL TEXT	MOD TERNEXT
	Flourish cornets Enter PORTIA with the Prince of MOROCCO, and both their trains	Trumpets play. PORTIA enters with the prince ofMOROCCO and both their entourages.
	PORTIA (to servant) Go draw aside the curtains and discover The several caskets to this noble prince.—	PORTIA (to servant) Go open the curtains and show the different boxes to the prince.
	A curtain is drawn showing a gold, silver, and lead casket	A curtain is drawn revealing showing three caskets: one gold, one silver, and one lead.
	(to MOROCCO) Now make your choice.	(to MOROCCO) Now make your choice.
5 10	MOROCCO The first, of gold, who this inscription bears: “Who chooseth me shall gain what many men desire.” The second, silver, which this promise carries: “Who chooseth me shall get as much as he deserves.” This third, dull lead, with warning all as blunt: “Who chooseth me must give and hazard all he hath.” How shall I know if I do choose the right?	MOROCCO The first one, the gold one, has an inscription that says, “He who chooses me will get what many men want.” The second one, the silver one, says, “He who chooses me will get what he deserves.” And this third one is made of dull lead. It has a blunt warning that says, “He who chooses me must give and risk all he has.” How will I know if I chose the right one?
	PORTIA The one of them contains my picture, Prince. If you choose that, then I am yours withal.	PORTIA One of them contains my picture. If you choose that one, I’m yours, along with the picture.
15 20	MOROCCO Some god direct my judgment! Let me see. I will survey th' inscriptions back again. What says this leaden casket? “Who chooseth me must give and hazard all he hath.” Must give—for what? For lead? Hazard for lead? This casket threatens. Men that hazard all Do it in hope of fair advantages. A golden mind stoops not to shows of dross. I’ll then nor give nor hazard aught for lead. What says the silver with her virgin hue?	MOROCCO I wish some god could help me choose! Let me see. I’ll look over the inscriptions again. What does the lead box say? “He who chooses me must give and risk all he has.” Must give everything—for what? For lead? Risk everything for lead? This box is too threatening. Men who risk everything hope to make profits. A golden mind doesn’t bend down to choose something worthless. So I won’t give or risk anything for lead. What does the silver one say?
	ORIGINAL TEXT	MODERN TEXT
25 30 35 40 45 50 55	“Who chooseth me shall get as much as he deserves.” “As much as he deserves!”—pause there, Morocco, And weigh thy value with an even hand. If thou beest rated by thy estimation, Thou dost deserve enough, and yet enough May not extend so far as to the lady, And yet to be afeard of my deserving Were but a weak disabling of myself. As much as I deserve! Why, that’s the lady. I do in birth deserve her, and in fortunes, In graces, and in qualities of breeding. But more than these, in love I do deserve. What if I strayed no further, but chose here? Let’s see once more this saying graved in gold, “Who chooseth me shall gain what many men desire.” Why, that’s the lady. All the world desires her. From the four corners of the earth they come To kiss this shrine, this mortal breathing saint. The Hyrcanian deserts and the vasty wilds Of wide Arabia are as thoroughfares now For princes to come view fair Portia. The watery kingdom, whose ambitious head Spits in the face of heaven, is no bar To stop the foreign spirits, but they come As o'er a brook to see fair Portia. One of these three contains her heavenly picture. Is ’t like that lead contains her? 'Twere damnation To think so base a thought. It were too gross To rib her cerecloth in the obscure grave. Or shall I think in silver she’s immured, Being ten times undervalued to tried gold? O sinful thought! Never so rich a gem Was set in worse than gold. They have in England A coin that bears the figure of an angel Stamped in gold, but that’s insculped upon. But here an angel in a golden bed	“He who chooses me will get as much as he deserves.” As much as he deserves—wait a minute there, Morocco, and consider your own value with a level head. If your reputation is trustworthy, you deserve a lot—though maybe not enough to include this lady. But fearing I don’t deserve her is a way of underestimating myself. As much as I deserve—I deserve Portia! By birth I deserve her. In terms of wealth, talents, and upbringing, and especially love, I deserve her. What if I went no further and chose this one? But let’s see once more what the gold one says: “He who chooses me will get what many men want.” That’s Portia! The whole world wants her. They come from the four corners of the earth to kiss this shrine and see this living, breathing saint. Princes travel across deserts and the vast wilderness of Arabia to come see the beautiful Portia. The wide ocean doesn’t prevent them from coming to see her—they travel across it as if it were a little stream. One of these three boxes contains her lovely picture. Could the lead one contain it? No, it’d be a sin to think such a low thought. Lead’s too crass to hold her. Is she enclosed in silver, which is ten times less valuable than gold? Oh, what a sinful thought! Nobody ever set a gem like her in a worse setting than gold. They have a coin in England stamped with the figure of an angel, but that’s just engraved on the surface.
	ORIGINAL TEXT	MODERN TEXT
60	Lies all within.—Deliver me the key. Here do I choose, and thrive I as I may!	Here an angel’s lying in a golden bed.—Give me the key. I will choose this one and try my chances.
	PORTIA (giving MOROCCO a key) There, take it, Prince. And if my form lie there Then I am yours.	PORTIA (she hands him a key) There, take it, prince. And if my picture’s in there, then I’m yours.
	MOROCCO opens the golden casket	MOROCCO opens the gold casket.
65 70 75 80	MOROCCO O hell, what have we here? A carrion death, within whose empty eye There is a written scroll. I’ll read the writing. (reads) “All that glisters is not gold— Often have you heard that told. Many a man his life hath sold But my outside to behold. Gilded tombs do worms enfold. Had you been as wise as bold, Young in limbs, in judgment old, Your answer had not been inscrolled. Fare you well. Your suit is cold— Cold, indeed, and labor lost.” Then, farewell, heat, and welcome, frost! Portia, adieu. I have too grieved a heart To take a tedious leave. Thus losers part.	MOROCCO Damn it! What’s this? It’s a skull with a scroll in its empty eye socket. I’ll read it aloud. (he reads) “All that glitters is not gold— You’ve often heard that said. Many men have sold their souls Just to view my shiny surface. But gilded tombs contain worms. If you’d been as wise as you were bold, With an old man’s mature judgment, You wouldn’t have had to read this scroll. So goodbye—you lost your chance.” Lost my chance indeed! So goodbye hope, and hello despair. Portia, goodbye to you. My heart’s too sad for long goodbyes. Losers always leave quickly.
	Exit MOROCCO with his train	MOROCCO exits with his entourage.
	PORTIA A gentle riddance.—Draw the curtains, go.— Let all of his complexion choose me so.	PORTIA Good riddance!—Close the curtains and leave.—I hope everyone who looks like him will make the same choice.
	Exeunt	They exit.
	ORIGINAL TEXT	MODERN TEXT
	Enter SALARINO and SOLANIO	SALARINO and SOLANIO enter
	SALARINO Why, man, I saw Bassanio under sail. With him is Gratiano gone along. And in their ship I am sure Lorenzo is not.	SALARINO I saw Bassanio sail away, and Gratiano went with him. I’m sure Lorenzo isn’t on their ship.
5	SOLANIO The villain Jew with outcries raised the Duke, Who went with him to search Bassanio’s ship.	SOLANIO That wicked Jew got the duke to listen to his complaints. The duke went with him to search Bassanio’s ship.
10	SALARINO He came too late. The ship was under sail. But there the Duke was given to understand That in a gondola were seen together Lorenzo and his amorous Jessica. Besides, Antonio certified the Duke They were not with Bassanio in his ship.	SALARINO He got there too late. The ship was already sailing. But once he got there, the duke learned that Lorenzo and his lover Jessica were together in a gondola. In any case, Antonio assured the duke they weren’t with Bassanio on his ship.
15 20	SOLANIO I never heard a passion so confused, So strange, outrageous, and so variable, As the dog Jew did utter in the streets. “My daughter! O my ducats! O my daughter, Fled with a Christian! O my Christian ducats! Justice, the law, my ducats, and my daughter! A sealèd bag, two sealèd bags of ducats, Of double ducats, stol'n from me by my daughter! And jewels—two stones, two rich and precious stones— Stol'n by my daughter! Justice, find the girl! She hath the stones upon her, and the ducats.”	SOLANIO I’ve never heard such confused emotions as what that Jew dog was shouting in the streets. “My daughter, oh my ducats, oh my daughter! Ran off with a Christian! Oh my Christian ducats! Justice, the law, my ducats, and my daughter, a sealed bag, two sealed bags of ducats, of double ducats, stolen from me by my daughter, and jewels—two stones, two rich and precious stones—stolen by my daughter! Justice, find the girl! She has the stones on her, and the ducats.”
	SALARINO Why, all the boys in Venice follow him, Crying, “His stones, his daughter, and his ducats!”	SALARINO I know, all the boys in Venice are following him, yelling, “His stones, his daughter, and his ducats!”
	ORIGINAL TEXT	MODERN TEXT
25	SOLANIO Let good Antonio look he keep his day, Or he shall pay for this.	SOLANIO I hope Antonio repays his loan on time, or he’ll suffer for this.
30	SALARINO Marry, well remembered.     I reasoned with a Frenchman yesterday, Who told me, in the narrow seas that part The French and English, there miscarried A vessel of our country richly fraught. I thought upon Antonio when he told me, And wished in silence that it were not his.	SALARINO That’s a good point. I spoke with a Frenchman yesterday who said that a Venetian ship loaded with treasure was wrecked in the English Channel. I thought about Antonio when he told me. I silently hoped it wasn’t his ship.
	SOLANIO You were best to tell Antonio what you hear— Yet do not suddenly, for it may grieve him.	SOLANIO You should tell Antonio what you hear—but don’t do it suddenly, because it might upset him.
35 40 45	SALARINO A kinder gentleman treads not the earth. I saw Bassanio and Antonio part. Bassanio told him he would make some speed Of his return. He answered, “Do not so. Slubber not business for my sake, Bassanio But stay the very riping of the time. And for the Jew’s bond which he hath of me, Let it not enter in your mind of love. Be merry, and employ your chiefest thoughts To courtship and such fair ostents of love As shall conveniently become you there.” And even there, his eye being big with tears, Turning his face, he put his hand behind him, And with affection wondrous sensible He wrung Bassanio’s hand. And so they parted.	SALARINO There’s no nicer guy in the whole world. I saw Bassanio and Antonio say goodbye. Bassanio told him he’d try to hurry back. Antonio answered “Don’t rush. Don’t do a sloppy job for my sake, Bassanio. Stay until everything is finished. As for the Jew’s contract, don’t let it be a factor in your plans. Be happy and concentrate your thoughts on love and how to win your love.” Then his eyes started tearing up. He turned his face away. Then he shook Bassanio’s hand affectionately—and they separated.
	ORIGINAL TEXT	MODERN TEXT
	Enter NERISSA and a servitor	NERISSA and a servant enter.
	NERISSA Quick, quick, I pray thee. Draw the curtain straight. The Prince of Arragon hath ta'en his oath And comes to his election presently.	NERISSA Hurry, hurry, close the curtain quick. The prince of Arragon has taken his oath, and he’s coming to make his choice now.
	Flourish cornets Enter the Prince of ARRAGON, his train, and PORTIA	Trumpets play. The Prince of ARRAGON, his entourage, and PORTIA enter.
5	PORTIA Behold, there stand the caskets, noble Prince. If you choose that wherein I am contained, Straight shall our nuptial rites be solemnized. But if you fail, without more speech, my lord, You must be gone from hence immediately.	PORTIA Look, here are the boxes, prince. If you choose the one that contains my picture, we’ll be married right away. But if you fail, you have to leave immediately. No pleas will be allowed.
10 15	ARRAGON I am enjoined by oath to observe three things: First, never to unfold to any one Which casket ’twas I chose; next, if I fail Of the right casket, never in my life To woo a maid in way of marriage; lastly, If I do fail in fortune of my choice, Immediately to leave you and be gone.	ARRAGON I swore I’d do three things. First, I can never tell anyone what box I choose. Second, if I choose the wrong box, I’ll never propose marriage for the rest of my life. Third, if I pick the wrong box, I’ll leave immediately.
	PORTIA To these injunctions every one doth swear That comes to hazard for my worthless self.	PORTIA Everyone who comes to gamble on winning me has to swear to these three rules.
20	ARRAGON And so have I addressed me. Fortune now To my heart’s hope! Gold, silver, and base lead. “Who chooseth me must give and hazard all he hath.” You shall look fairer ere I give or hazard. What says the golden chest? Ha, let me see. “Who chooseth me shall gain what many men desire.”	ARRAGON Okay, I’m ready. I hope luck will give me what my  heart hopes for! Gold, silver, and common lead. “He who chooses me must give and risk all he has.”   You’d have to be more attractive for me to give or risk anything for you. What does the golden box say? Hmm, let me see:
	ORIGINAL TEXT	MODERN TEXT
25 30 35 40 45 50	“What many men desire”—that “many” may be meant By the fool multitude that choose by show, Not learning more than the fond eye doth teach; Which pries not to th' interior, but like the martlet Builds in the weather on the outward wall, Even in the force and road of casualty. I will not choose what many men desire Because I will not jump with common spirits And rank me with the barbarous multitudes. Why then, to thee, thou silver treasure house. Tell me once more what title thou dost bear. “Who chooseth me shall get as much as he deserves.” And well said too—for who shall go about To cozen fortune and be honorable Without the stamp of merit? Let none presume To wear an undeservèd dignity. Oh, that estates, degrees and offices Were not derived corruptly, and that clear honor Were purchased by the merit of the wearer! How many then should cover that stand bare! How many be commanded that command! How much low peasantry would then be gleaned From the true seed of honor! And how much honor Picked from the chaff and ruin of the times To be new varnished! Well, but to my choice. “Who chooseth me shall get as much as he deserves.” I will assume desert.—Give me a key for this, And instantly unlock my fortunes here.	“He who chooses me will get what many men want.” What many men want—that “many” could mean that most people are fools and choose by whatever is flashy. They don’t go beyond what their eyes see. They don’t bother to find out what’s on the inside.  Just like those birds called martins who build their nests on the outside of walls, people pay too much attention to what’s on the outside. So I won’t choose what many men desire, because I won’t jump on the bandwagon and include myself with the whole crude population. So I guess it’s you, you silver treasure house. Tell me once more what you say. “He who chooses me will get what he deserves.” That’s nicely put—because who’s going to cheat luck and get more than he deserves? No one should have an honor he doesn’t deserve. Oh, wouldn’t it be great if property, rank, official positions, and other honors were earned only by merit, not by corruption? There wouldn’t be too many important men then. How many people who are humble now would be great then? How many people who give orders now would have to take orders? How many noblemen would be weeded out and would become peasants? And how many  common people would suddenly shine with nobility? Well, let me get back to my choice. “He who chooses me will get what he deserves.” I’ll assume I deserve the very best.—Give me a key for this one. I’ll unlock my fate here in a second.
	ARRAGON opens the silver casket	ARRAGON opens the silver casket.
	PORTIA Too long a pause for that which you find there.	PORTIA You thought about it too long, considering what you found there.
	ORIGINAL TEXT	MODERN TEXT
55	ARRAGON What’s here? The portrait of a blinking idiot Presenting me a schedule! I will read it.— How much unlike art thou to Portia! How much unlike my hopes and my deservings! “Who chooseth me shall have as much as he deserves”! Did I deserve no more than a fool’s head? Is that my prize? Are my deserts no better?	ARRAGON What’s this? A picture of an idiot holding a scroll up for me to read! I’ll read it.—It looks so unlike Portia! This outcome isn’t what I hoped for, or what I   deserve. “The one who chooses me will get what he deserves”! Didn’t I deserve anything more than a fool’s head? Is this my prize? Don’t I deserve more than this?
60	PORTIA To offend and judge are distinct offices And of opposèd natures.	PORTIA Judging what you deserve is one thing. Offending you is something very different, so I’ll keep my mouth shut.
65 70 75	ARRAGON What is here?     (reads) “The fire seven times tried this, Seven times tried that judgment is, That did never choose amiss. Some there be that shadows kiss. Such have but a shadow’s bliss. There be fools alive, iwis, Silvered o'er—and so was this. Take what wife you will to bed, I will ever be your head. So be gone. You are sped. Still more fool I shall appear” By the time I linger here. With one fool’s head I came to woo, But I go away with two.— Sweet, adieu. I’ll keep my oath Patiently to bear my wroth.”	ARRAGON What does this say? (he reads) “This box was tested in the fire seven times. The person who never makes a wrong choice Has wisdom that will stand the test. Some people kiss shadows. They only feel the shadow of joy. There are fools out there With silver hair and silver coins. This choice was as foolish as they are. Take whatever wife you want to bed with you, You’ll have a fool’s head forever. So go away. You’re done here.” The longer I stay, the more foolish I look. I came here with a fool’s head on my shoulders and now I’m leaving with two.—Goodbye, sweet lady. I’ll keep my oath and patiently suffer through my anger.
	Exeunt ARRAGON and his train	He exits with his train.
	ORIGINAL TEXT	MODERN TEXT
80	PORTIA Thus hath the candle singed the moth. O these deliberate fools! When they do choose, They have the wisdom by their wit to lose.	PORTIA These men are like moths, drawn to these boxes as if they were flames. This is how the candle burned the moth. Oh, these fools! When they choose, they only know how to lose.
	NERISSA The ancient saying is no heresy. Hanging and wiving goes by destiny.	NERISSA You know what they say. Destiny chooses when you’ll die and who you’ll marry.
	PORTIA Come, draw the curtain, Nerissa.	PORTIA Come on, close the curtain, Nerissa.
	Enter MESSENGER	A MESSENGER enters.
85	messenger Where is my lady?	MESSENGER Where’s lady Portia?
	PORTIA Here. What would my lord?	PORTIA Here. How can I help you, sir?
90 95	MESSENGER Madam, there is alighted at your gate A young Venetian, one that comes before To signify th' approaching of his lord, From whom he bringeth sensible regreets, To wit—besides commends and courteous breath— Gifts of rich value. Yet I have not seen So likely an ambassador of love. A day in April never came so sweet To show how costly summer was at hand, As this forespurrer comes before his lord.	MESSENGER Madam, a young Venetian man has arrived to tell us his master is about to arrive. This lord has sent gifts. Besides his nice polite greetings, his gifts are expensive. I haven’t seen such a promising candidate for your love. This servant has arrived before his master the way a sweet spring day hints about a lush summer. But there’s never been an April day as promising as this.
100	PORTIA No more, I pray thee. I am half afeard Thou wilt say anon he is some kin to thee, Thou spend’st such high-day wit in praising him.— Come, come, Nerissa, for I long to see Quick Cupid’s post that comes so mannerly.	PORTIA Please don’t tell me any more. I’m almost afraid you’re going to tell me he’s a relative of yours, because you’re going so crazy praising him. Come on,   Nerissa, I want to go see this man who’s come so courteously.
	NERISSA Bassanio, Lord Love, if thy will it be!	NERISSA I hope it’s Bassanio coming to win Portia!
	Exeunt	They exit
	ORIGINAL TEXT	MODERN TEXT
	Enter SOLANIO and SALARINO	SOLANIO and SALARINO enter
	SOLANIO Now, what news on the Rialto?	SOLANIO So, what’s the news on the Rialto?
	SALARINO Why, yet it lives there unchecked that Antonio hath a ship of rich lading wracked on the narrow seas. The Goodwins I think they call the place—a very dangerous flat, and fatal, where the carcasses of many a tall ship lie buried, as they say, if my gossip report be an honest woman of her word.	SALARINO Well, there’s a rumor that Antonio had a ship carrying expensive cargo that shipwrecked in the English Channel on the Goodwin Sands, a very dangerous sandbar. Many ships have sunk there, according to rumors.
	SOLANIO I would she were as lying a gossip in that as ever knapped ginger or made her neighbors believe she wept for the death of a third husband. But it is true, without any slips of prolixity or crossing the plain highway of talk, that the good Antonio, the honest Antonio—oh, that I had a title good enough to keep his name company!—	SOLANIO I hope this new rumor is a lie, like the gossiping widow’s claim that she was sorry her third husband died! But it’s true—I don’t want to get all mushy and go on and on, but the good Antonio, the honest Antonio—oh, if I only had a title good enough to  match his!—
	SALARINO Come, the full stop.	SALARINO Come on, get to the point.
15	SOLANIO Ha, what sayest thou? Why, the end is he hath lost a ship.	SOLANIO What are you saying? Well, the point is, he’s lost a ship.
	SALARINO I would it might prove the end of his losses.	SALARINO I hope that’s all he loses.
	SOLANIO Let me say “Amen” betimes, lest the devil cross my prayer, for here he comes in the likeness of a Jew.	SOLANIO Let me say “amen” quickly, before the devil comes in and stops my prayer—because here comes the devil, disguised as a Jew.
	Enter SHYLOCK	SHYLOCK enters.
	ORIGINAL TEXT	MODERN TEXT
	How now, Shylock? What news among the merchants?	How’s it going, Shylock? What’s the news among the merchants?
20	SHYLOCK You knew—none so well, none so well as you—of my daughter’s flight.	SHYLOCK You knew—no one knew, no one knew as well as you did—about my daughter’s plans to run away.
	SALARINO That’s certain. I, for my part, knew the tailor that made the wings she flew withal.	SALARINO That’s true. I even knew the tailor who made the disguise she wore when she ran off.
	SOLANIO And Shylock, for his own part, knew the bird was fledged, and then it is the complexion of them all to leave the dam.	SOLANIO And Shylock knew his daughter was ready to run away. It’s natural for children to leave their parents.
	SHYLOCK She is damned for it.	SHYLOCK She’ll be damned for it.
	SOLANIO That’s certain—if the devil may be her judge.	SALARINO That’s true—if the devil’s judging her.
	SHYLOCK My own flesh and blood to rebel! )))))))))))))))))))))))))))))))))))))))))))))))	SHYLOCK My own flesh and blood turned against me! A rebel! ))))))))))))))))))))))))))))))))))))))))))))))))))))))))
35	SHYLOCK There I have another bad match!—a bankrupt, a prodigal who dare scarce show his head on the Rialto, a beggar that was used to come so smug upon the mart. Let him look to his bond. He was wont to call me usurer; let him look to his bond. He was wont to lend money for a Christian courtesy; let him look to his bond.	SHYLOCK That’s another bad deal I’ve made!—a bankrupt, a spendthrift, who now has to hide his head on the Rialto, a beggar who used to look so smug in front of the other merchants. Let him think about his own  debt. He liked to call me a loan shark; let him think about  his debt to me. He used to lend money as a favor between Christians; but now, let him think   about his own debt.
	SALARINO Why, I am sure, if he forfeit thou wilt not take his flesh. What’s that good for?	SALARINO But you won’t take his flesh if he can’t pay. What’s  that good for?
	SHYLOCK To bait fish withal. If it will feed nothing else, it will feed my revenge. He hath disgraced me and hindered me half a million, laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies—and what’s his reason? I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villainy you teach me I will execute—and it shall go hard but I will better the instruction.	SHYLOCK I’ll use it for fish bait. You can’t eat human flesh,   but if it feeds nothing else, it’ll feed my revenge. He’s insulted me and cost me half a million ducats. He’s laughed at my losses, made fun of my earnings, humiliated my race, thwarted my deals, turned my friends against me, riled up my enemies—and why? Because I’m a Jew. Doesn’t a Jew have eyes?   Doesn’t a Jew have hands, bodily organs, a human shape, five senses, feelings, and passions? Doesn’t    a Jew eat the same food, get hurt with the same weapons, get sick with the same diseases, get healed by the same medicine, and warm up in summer and cool off in winter just like a Christian? If you prick us with a pin, don’t we bleed? If you tickle us, don’t we laugh? If you poison us, don’t we die? And if you   treat us badly, won’t we try to get revenge? If we’re like you in everything else, we’ll resemble you in that respect. If a Jew offends a Christian, what’s the Christian’s kind and gentle reaction? Revenge. If a Christian offends a Jew, what punishment will he come up with if he follows the Christian example? Of course, the same thing—revenge! I’ll treat you as badly as you Christians taught me to—and you’ll be lucky if I don’t outdo my teachers.
	ORIGINAL TEXT	MODERN TEXT
	Enter a MAN from ANTONIO	One of ANTONIO’s SERVANTS enters.
	MAN (to SOLANIO and SALARINO) Gentlemen, my master Antonio is at his house and desires to speak with you both.	SERVANT (to SOLANIO and SALARINO) My master Antonio is at his house and would like to speak to you both.
65	SALARINO We have been up and down to seek him.	SALARINO We’ve been looking for him everywhere.
	Enter TUBAL	TUBAL enters.
	SOLANIO Here comes another of the tribe. A third cannot be matched unless the devil himself turn Jew.	SOLANIO Here comes another Jew. You couldn’t find a third like these two unless the devil himself turned into a Jew.
	Exeunt SOLANIO, SALARINO, and MAN	SOLANIO, SALARINO, and ANTONIO’s SERVANTexit.
	SHYLOCK How now, Tubal? What news from Genoa? Hast thou found my daughter?	SHYLOCK Hello, Tubal. Any news from Genoa? Did you find my daughter?
70	TUBAL I often came where I did hear of her, but cannot find her.	TUBAL I went to many places where I heard news about her, but I couldn’t find her.
	SHYLOCK Why, there, there, there, there! A diamond gone cost me two thousand ducats in Frankfurt—the curse never fell upon our nation till now! I never felt it till now—Two thousand ducats in that, and other precious, precious jewels. I would my daughter were dead at my foot and the jewels in her ear! Would she were hearsed at my foot and the ducats in her coffin! No news of them? Why, so. And I know not what’s spent in the search. Why thou, loss upon loss! The thief gone with so much, and so much to find the thief—and no satisfaction, no revenge. Nor no ill luck stirring but what lights o' my shoulders, no sighs but o' my breathing, no tears but o' my shedding.	SHYLOCK Oh, oh, oh! One of the stolen diamonds cost me two thousand ducats in Frankfurt! I never felt the curse of the Jews until now. I never felt it until now—two thousand ducats in that diamond, and other precious, precious jewels! I wish my daughter were dead at my feet wearing those jewels! I wish she were in her  coffin here, with the ducats in her coffin! You couldn’t find out anything about them? Why? I don’t even  know how much I’m spending to find them.   Loss upon loss! The thief left with so much, and I’m spending    so much to hunt down the thief—and still I’m not satisfied! I haven’t gotten my revenge. The  only luck I have is bad luck. Nobody suffers but me. Nobody’s crying except me.
	TUBAL Yes, other men have ill luck too. Antonio, as I heard in Genoa—	TUBAL Well, other men have bad luck too. Antonio, as I heard in Genoa—
85	SHYLOCK What, what, what? Ill luck, ill luck?	SHYLOCK What, what, what? Bad luck, bad luck?
	TUBAL Hath an argosy cast away coming from Tripolis.	TUBAL He’s had a ship wrecked coming from Tripolis.
	SHYLOCK I thank God, I thank God! Is ’t true, is ’t true?	SHYLOCK Thank God, thank God! Is it true, is it true?
	TUBAL I spoke with some of the sailors that escaped the wrack.	TUBAL I spoke with some of the sailors who survived the wreck.
	SHYLOCK I thank thee, good Tubal. Good news, good news! Ha, ha, heard in Genoa.	SHYLOCK Thank you, Tubal. Good news, good news! Ha, ha, heard in Genoa.
	TUBAL Your daughter spent in Genoa, as I heard, in one night fourscore ducats.	TUBAL I also heard that your daughter spent eighty ducats in Genoa one night.
	SHYLOCK Thou stickest a dagger in me. I shall never see my gold again. Fourscore ducats at a sitting! Fourscore ducats!	SHYLOCK Oh, you’re sticking a dagger in me! I’ll never see my gold again. Eighty ducats in one shot! Eighty ducats!
95	TUBAL There came divers of Antonio’s creditors in my company to Venice that swear he cannot choose but break.	TUBAL I came to Venice with a number of Antonio’s creditors who say he won’t be able to avoid going bankrupt.
	SHYLOCK I am very glad of it. I’ll plague him. I’ll torture him. I am glad of it.	SHYLOCK I’m very glad about that. I’ll hound him. I’ll torture him. I’m very glad.
	TUBAL One of them showed me a ring that he had of your daughter for a monkey.	TUBAL One creditor showed me a ring he got from your daughter in exchange for a monkey.
	SHYLOCK Out upon her! Thou torturest me, Tubal. It was my turquoise. I had it of Leah when I was a bachelor. I would not have given it for a wilderness of monkeys.	SHYLOCK Damn her! You’re torturing me, Tubal. That was my turquoise ring! Leah gave it to me before we were married. I wouldn’t have given it away for a whole jungle of monkeys.
	TUBAL But Antonio is certainly undone.	TUBAL But Antonio’s certainly ruined.
105	SHYLOCK Nay, that’s true, that’s very true. Go, Tubal, fee me an officer. Bespeak him a fortnight before.—I will have the heart of him if he forfeit, for were he out of Venice I can make what merchandise I will.—Go, go, Tubal, and meet me at our synagogue. Go, good Tubal. At our synagogue, Tubal.	SHYLOCK That’s true, that’s very true. Tubal, go find me a police officer to arrest Antonio. Get him ready two weeks ahead of time.—I’ll take Antonio’s heart if he can’t pay. With him out of Venice, I can make whatever bargains I want when I lend money.—Go, Tubal. Meet me at the synagogue.
	Exeunt severally	They exit.
	Enter BASSANIO, PORTIA, GRATIANO,NERISSA, and all their trains, including aSINGER	BASSANIO, PORTIA, GRATIANO, and NERISSAenter with all their attendants, including a SINGER.
5 10 15 20	PORTIA (to BASSANIO) I pray you, tarry. Pause a day or two Before you hazard, for in choosing wrong I lose your company. Therefore forbear awhile. There’s something tells me—but it is not love— I would not lose you, and you know yourself Hate counsels not in such a quality. But lest you should not understand me well— And yet a maiden hath no tongue but thought— I would detain you here some month or two Before you venture for me. I could teach you How to choose right, but I am then forsworn. So will I never be. So may you miss me. But if you do, you’ll make me wish a sin, That I had been forsworn. Beshrew your eyes, They have o'erlooked me and divided me. One half of me is yours, the other half yours— Mine own, I would say. But if mine, then yours, And so all yours. Oh, these naughty times Put bars between the owners and their rights! And so, though yours, not yours. Prove it so. Let Fortune go to hell for it, not I. I speak too long, but ’tis to peize the time, To eke it and to draw it out in length, To stay you from election.	PORTIA (to BASSANIO) Please wait a day or two before making your choice. If you choose wrong, I’ll lose your company. So wait a while. Something tells me—not love, but something—that I don’t want to lose you, and you know that if I hated you I wouldn’t think that. But let me put it more clearly in case you don’t understand—though I know girls aren’t supposed to express their thoughts—I’m just saying I’d like you to stay here for a month or two before you undergo the test for me. I could tell you how to choose correctly, but then I’d be disregarding the oath I took. So I’ll never tell. But you might lose me by making the wrong choice. If you do choose wrong, you’ll make me wish for something very bad. I’d wish I had ignored my oath and told you everything. God, your eyes have bewitched me. They’ve divided me in two. One half of me is yours, and the other half—my own half, I’d call it—belongs to you too. If it’s mine, then it’s yours, and so I’m all yours. But in this awful day and age people don’t even have the right to their own property! So though I’m yours, I’m not yours. If there’s no chance for me to be yours, then it’s just bad luck. I know I’m talking too much, but I do that just to make the time last longer, and to postpone your test.
25	BASSANIO Let me choose,     For as I am, I live upon the rack. PORTIA Upon the rack, Bassanio? Then confess What treason there is mingled with your love.	BASSANIO Let me choose now. I feel tortured by all this talking. PORTIA Tortured, BASSANIO? Then confess to your crime. Tell us about the treason you ’ve mixed in with your love.

30	BASSANIO None but that ugly treason of mistrust Which makes me fear th' enjoying of my love. There may as well be amity and life 'Tween snow and fire, as treason and my love.	BASSANIO The only treason I’m guilty of is worrying that I’m never going to get to enjoy you. Treason has nothing at all to do with my love. They’re as opposite as hot and cold.
	PORTIA Ay, but I fear you speak upon the rack Where men enforcèd do speak anything.	PORTIA Hmmm, I’m not sure I believe what you’re saying. Men under torture will confess anything.
	BASSANIO Promise me life, and I’ll confess the truth.	BASSANIO Promise me you’ll let me live, and I’ll confess the truth.
35	PORTIA Well then, confess and live.	PORTIA All right then, confess and live.
	BASSANIO “Confess and love”     Had been the very sum of my confession. O happy torment, when my torturer Doth teach me answers for deliverance! But let me to my fortune and the caskets.	BASSANIO “Confess and love” is more like it. Oh, torture’s fun when my torturer tells me what I have to say to go free! But let me try my luck on the boxes.
40 45 50	PORTIA Away, then. I am locked in one of them. If you do love me you will find me out.— Nerissa and the rest, stand all aloof. Let music sound while he doth make his choice. Then if he lose he makes a swanlike end, Fading in music. That the comparison May stand more proper, my eye shall be the stream And watery deathbed for him. He may win, And what is music then? Then music is Even as the flourish when true subjects bow To a new-crownèd monarch. Such it is As are those dulcet sounds in break of day That creep into the dreaming bridegroom’s ear And summon him to marriage.	PORTIA Go ahead, then. I’m locked in one of them. If you really love me, you’ll find me.—Nerissa and the rest of you, get away from him. Play some music while he chooses. Then if he loses, it’ll be his swan song, music before the end. And since swans need water to swim in, I’ll cry him a river when he loses. But on the other hand, he may win. What music should we play then? If he wins, the music should be like the majestic trumpets that blare when subjects   bow to a newly crowned monarch. It’s the sweet sounds   at daybreak that the dreaming bridegroom hears on his wedding morning, calling him to the church.
55 60	Now he goes     With no less presence but with much more love Than young Alcides, when he did redeem The virgin tribute paid by howling Troy To the sea monster. I stand for sacrifice. The rest aloof are the Dardanian wives, With blearèd visages come forth to view The issue of th' exploit.—Go, Hercules! Live thou, I live. With much, much more dismay I view the fight than thou that makest the fray.	Bassanio’s walking to the boxes now. He looks as dignified as Hercules did when he saved the princess Hesione from the sea monster. But he loves me more than Hercules loved the princess. I’ll play Hesione,  and everyone else will be the bystanders watching with tear-streaked faces. We’ve all come out to see what will happen.—Go, Hercules! If you survive, I’ll live. I’m more anxious watching you fight than you   are in the fight itself.
	A song, the whilst BASSANIO comments on the caskets to himself	A song plays while BASSANIO mulls over the boxes.
65	SINGER (sings) Tell me where is fancy bred. Or in the heart or in the head? How begot, how nourishèd?	SINGER (singing) Tell me where do our desires start, In the heart or in the head? How are they created, how sustained?
	ALL Reply, reply.	ALL Answer me, answer me.
70	SINGER (sings) It is engendered in the eyes, With gazing fed, and fancy dies In the cradle where it lies. Let us all ring fancy’s knell I’ll begin it.—Ding, dong, bell.	SINGER (singing) Desires start in the eyes, Sustained by gazing, and desires die Very young. Let’s all mourn our dead desires. I’ll begin—Ding, dong, bell.
	ALL Ding, dong, bell.	ALL Ding, dong, bell.

    

75 80 85 90 95 100 105	BASSANIO So may the outward shows be least themselves. The world is still deceived with ornament. In law, what plea so tainted and corrupt But, being seasoned with a gracious voice, Obscures the show of evil? In religion, What damnèd error, but some sober brow Will bless it and approve it with a text, Hiding the grossness with fair ornament? There is no vice so simple but assumes Some mark of virtue on his outward parts. How many cowards whose hearts are all as false As stairs of sand wear yet upon their chins The beards of Hercules and frowning Mars, Who, inward searched, have livers white as milk, And these assume but valor’s excrement To render them redoubted. Look on beauty, And you shall see ’tis purchased by the weight, Which therein works a miracle in nature, Making them lightest that wear most of it. So are those crispèd snaky golden locks Which maketh such wanton gambols with the wind, Upon supposèd fairness, often known To be the dowry of a second head, The skull that bred them in the sepulcher. Thus ornament is but the guilèd shore To a most dangerous sea, the beauteous scarf Veiling an Indian beauty—in a word, The seeming truth which cunning times put on To entrap the wisest. Therefore then, thou gaudy gold, Hard food for Midas, I will none of thee. Nor none of thee, thou pale and common drudge 'Tween man and man. But thou, thou meagre lead, Which rather threaten’st than dost promise aught, Thy paleness moves me more than eloquence, And here choose I. Joy be the consequence!	BASSANIO You can’t always judge a book by its cover. People are often tricked by false appearances. In court, someone can deliver a false plea but hide its wickedness with a pretty voice. In religion, don’t serious men defend sins with Scripture, covering up evil with a show of good. Every sin in the world manages to make itself look good somehow. How many people are cowards at heart but wear beards like Hercules  or Mars, the god of war? Take another example: beauty. It can be bought by the ounce in makeup, which works miracles. Women who wear it the most are respected the least. It’s the same thing with hair. Curly golden hair moves so nicely in the wind and makes  a woman beautiful. But you can buy that kind of hair as a wig, and wigs are made from dead people’s hair. Decoration’s nothing but a danger,  meant to trick and trap the viewer. A lovely, cunning shore can distract a man from the perils of a stormy sea, just as a pretty scarf can hide a dangerous dark-skinned beauty. Nowadays, everyone’s fooled by appearances. So I’ll have nothing to do with that gaudy gold box—it’s like the gold that Midas couldn’t eat. And I’ll have nothing to do with the pale silver either, the metal that common coins are made of. But this humble lead one, though it looks too threatening to promise me anything good, moves me more than I can say. So this is the one I choose. I hope I’m happy with my choice!
110 115	PORTIA (aside) How all the other passions fleet to air, As doubtful thoughts, and rash-embraced despair, And shuddering fear, and green-eyed jealousy! O love, be moderate. Allay thy ecstasy. In measure rein thy joy. Scant this excess. I feel too much thy blessing. Make it less, For fear I surfeit.	PORTIA (to herself) All my other emotions are vanishing into thin air, as all my doubts and desperation and fears and jealousy are all flying away! Oh, I need to calm down, make my love and my joy less intense. I’m feeling this too strongly. Please make my love less, or I’m going to overindulge, making myself sick.
120 125 130 135 140	BASSANIO (opening the lead casket) What find I here?    Fair Portia’s counterfeit! What demigod Hath come so near creation? Move these eyes? Or whether, riding on the balls of mine, Seem they in motion? Here are severed lips, Parted with sugar breath. So sweet a bar Should sunder such sweet friends. Here in her hairs, The painter plays the spider and hath woven A golden mesh t' entrap the hearts of men Faster than gnats in cobwebs. But her eyes— How could he see to do them? Having made one, Methinks it should have power to steal both his And leave itself unfurnished. Yet look how far The substance of my praise doth wrong this shadow In underprizing it, so far this shadow Doth limp behind the substance. Here’s the scroll, The continent and summary of my fortune. (reads) “You that choose not by the view, Chance as fair and choose as true. Since this fortune falls to you, Be content and seek no new. If you be well pleased with this And hold your fortune for your bliss, Turn you where your lady is And claim her with a loving kiss.”	BASSANIO (opening the lead box) What do we have here? A picture  of beautiful Portia! What artist captured her likeness so well? Are these eyes moving? Or do they just seem to move as  my eyes move? Her sweet breath forces her lips open, a lovely divider of lovely lips. And look at her hair, looking like  a golden mesh to trap the hearts of men, like little flies in a cobweb. The painter was like a spider in creating it so delicately. But her eyes—how could he keep looking at them long enough to paint them? I would’ve expected   that when he finished one of them, it would have enraptured him and kept him from painting the other. But I’m giving only faint praise of the picture, just as the picture, as good as it is, is only a faint imitation of the real woman herself. Here’s the scroll that sums up my fate: (he reads) “You who don’t judge by looks alone, Have better luck, and make the right choice. Since this prize is yours, Be happy with it, and don’t look for a new one. If you’re happy with what you’ve won And accept this prize as your blissful destiny, Then turn to where your lady is, And claim her with a loving kiss.”
145 150	A gentle scroll. Fair lady, by your leave, I come by note to give and to receive. Like one of two contending in a prize That thinks he hath done well in people’s eyes, Hearing applause and universal shout, Giddy in spirit, still gazing in a doubt Whether these pearls of praise be his or no— So, thrice fair lady, stand I even so, As doubtful whether what I see be true Until confirmed, signed, ratified by you.	A nice message. My lady, with your permission, this note authorizes me to give myself to you with a kiss. But I’m in  a daze, like someone who’s just won a contest and thinks that all the applause and cheering is for him, but isn’t sure yet. And so, beautiful lady, I’m standing here just like    that, wondering whether all this can be true until you tell me it  is.
155 160 165 170 175	PORTIA You see me, Lord Bassanio, where I stand Such as I am. Though for myself alone I would not be ambitious in my wish To wish myself much better, yet for you I would be trebled twenty times myself— A thousand times more fair, ten thousand times more rich— That only to stand high in your account I might in virtue, beauties, livings, friends Exceed account. But the full sum of me Is sum of something which, to term in gross, Is an unlessoned girl, unschooled, unpracticèd; Happy in this—she is not yet so old But she may learn. Happier than this— She is not bred so dull but she can learn. Happiest of all is that her gentle spirit Commits itself to yours to be directed As from her lord, her governor, her king. Myself and what is mine to you and yours Is now converted. But now I was the lord Of this fair mansion, master of my servants, Queen o'er myself. And even now, but now, This house, these servants, and this same myself Are yours, my lord’s. I give them with this ring, Which when you part from, lose, or give away, Let it presage the ruin of your love And be my vantage to exclaim on you. (gives BASSANIO a ring)	PORTIA You see me standing here, Lord Bassanio. What you see is what you get. Though I wouldn’t wish to be better for   my own sake, for your sake I wish I were twenty times more  than myself—a thousand times more beautiful and ten thousand times richer—just so you might value me more,    so my good qualities, beauty, possessions, and friends  would be more than you could calculate. What you’re getting is an innocent and inexperienced girl. I’m happy that at least I’m not too old to learn new things. I’m even happier that I’m not stupid, and I can learn. I’m happiest of all that I’m yours now, my lord,  my king, and you can guide me as you wish. Everything I   am and everything I have now belongs to you. Just a minute ago    I was the owner of this beautiful mansion, master of these servants, and queen over myself. But as of right this second all these things are yours. With this ring I give  them all to you. If you ever give away this ring or lose it, it means our love’s doomed, and I’ll have a right to be angry with you. (she gives BASSANIO the ring)
180 185 190	BASSANIO Madam, you have bereft me of all words. Only my blood speaks to you in my veins. And there is such confusion in my powers As after some oration fairly spoke By a belovèd prince there doth appear Among the buzzing pleasèd multitude, Where every something, being blent together, Turns to a wild of nothing, save of joy, Expressed and not expressed. But when this ring Parts from this finger, then parts life from hence. O, then be bold to say Bassanio’s dead!	BASSANIO Madam, you’ve left me speechless, but my feelings are responding to your words. I’m as confused as a crowd of people going wild after hearing their prince give a speech. But the day I take this ring off will be the day I die. If you see me without it, you can be confident I’m dead.
	NERISSA My lord and lady, it is now our time, That have stood by and seen our wishes prosper, To cry, “Good joy, good joy, my lord and lady!”	NERISSA My lord and lady, it’s now our turn, who have been watching as our dreams came true. Now we can shout, “Congratulations, congratulations, my lord and lady!”
195	GRATIANO My Lord Bassanio and my gentle lady, I wish you all the joy that you can wish, For I am sure you can wish none from me. And when your honors mean to solemnize The bargain of your faith, I do beseech you Even at that time I may be married too.	GRATIANO My Lord Bassanio, and my dear lady, I wish you all the   joy I can wish for. And when you get married, I hope I    can be married at the same time.
200	BASSANIO With all my heart, so thou canst get a wife.	BASSANIO Absolutely, if you can find a wife by then.
205 210	GRATIANO I thank your lordship, you have got me one. My eyes, my lord, can look as swift as yours. You saw the mistress, I beheld the maid. You loved, I loved. For intermission No more pertains to me, my lord, than you. Your fortune stood upon the casket there, And so did mine too, as the matter falls. For wooing here until I sweat again, And swearing till my very roof was dry With oaths of love, at last—if promise last— I got a promise of this fair one here To have her love, provided that your fortune Achieved her mistress.	GRATIANO I think I’ve found one already, thanks to you, my lord. I   can fall in love just as quickly as you can, and I loved Nerissa as soon as I laid eyes on her. You fell in love with Portia, and I fell in love with Nerissa, because I’m not in the habit of delaying any more than you are, my lord.   Your fate depended on those boxes, and it turns out that mine did too. I couldn’t help but chase her. I started making love vows to her till my mouth was dry. Then  finally she said she loved me and would marry me if you two got married as well.