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THE MERCHANT OF VENICE

Commentary

The action of the play takes place in Venice and in Belmont. Belmont
is imaginary, but Venice is real. The city is located on the sea coast in
the north of Italy, and is in fact built over a lagoon. Its main streets
are canals, and the only vehicles are boats. In the sixteenth century,
Venice was the centre for international trade, importing goods from
all corners of the earth, and exporting them in the same way. We are
told that Antonio, the greatest of the merchants, is waiting for his
ships to return

    From Tripolis, from Mexico, and England,
    From Lisbon, Barbary, and India.
                            (3, 2, 266û7)

To be successful, a merchant had to invest his money wisely ù and
have luck on his side. Trading by sea was hazardous, and a sudden
storm, or unseen rocks, could easily wreck a ship and drown the
merchantÆs hopes along with the cargo.

Act 1

Scene 1
When his friends see that Antonio is depressed, they immediately
think that he is worried about his ships at sea. They are sympathetic,
and Solanio does his best to make light of the situation by
exaggerating his fears to make his friend smile. But Antonio is sad
for some other reason, and when we meet his dearest friend,
Bassanio, we begin to guess at this reason. Bassanio is a carefree
young man, who cheerfully admits that he has spent all of his own
money and a good deal of AntonioÆs. However, Bassanio now has a
scheme for acquiring more wealth. Before he gives any details, he
explains his theory: a lost arrow (he says) can often be found by
shooting another arrow in the same direction, and watching carefully
to see where it falls. The theory is, as Bassanio acknowledges, a
ôchildhood proofö; he believed it when he was a schoolboy, and now
he wants to put it to the test again, spending more money in the hope
of winning back what he has lost. This is not a very sensible, or
responsible, way to act, but Bassanio emphasizes his youth and
innocence. Perhaps he hopes that Antonio will treat him as though he
were a child, and ignore the irresponsibility of his demand for more
money to spend.
    Bassanio next tells Antonio of an heiress, who has already
given him some unspoken encouragement. Her name is Portia, and
Bassanio claims to have fallen in love with her. He may be speaking
the truth, but it is clear that the ladyÆs wealth is a very attractive
feature for him. Antonio promises aid, but all the money he possesses
is tied up in his own business ventures. Still, his ôcreditö is good, and
Bassanio can borrow all the ducats he needs to present himself to
Portia as an eligible suitor, giving AntonioÆs name as security ù that
is, promising that Antonio will repay the debt if he himself is unable
to do so.
    Our feelings towards Bassanio at the end of this scene cannot
be wholly favourable, despite his youthful optimism. He has wasted a
lot of money, both his own and his friendÆs. It seems that he wants to
marry Portia not just because of love but also because of her money.
But he himself, perhaps unconsciously, shows what we should feel
about him when he explains that his youth has been ôsomething too
prodigalö. Repeated phrases throughout the play compare Bassanio
with the Prodigal Son of ChristÆs parable (St. Luke 15: 11û32), who
spent all his inheritance in ôriotous livingö. When he was penniless
and starving, he went repentantly back to his fatherÆs house, where he
was welcomed with rejoicing. Bassanio has been ôprodigalö; now he
asks for a chance to redeem himself.
    Like the Prodigal SonÆs father, Antonio has shown the loving
and forgiving generosity of his nature, but he remains a mysterious
character. Early in the scene he tells Graziano that he thinks of the
world as ôA stage where every man must play a part, And mine a sad
oneö. It is his changing relationship with Bassanio that causes his
melancholy. Some Elizabethans thought ù as the Greeks and
Romans did ù that the friendship between two men was a more
spiritual bond, and should be more highly esteemed, than the love
between a man and a woman. Knowing that Bassanio is interested in
a lady (see lines 119û21), Antonio may be secretly grieving for the
inevitable end to a friendship.

Scene 2
From the hearty, but anxious, masculine world of Venice, we move to
the feminine peace of Belmont. Even here there is anxiety, as PortiaÆs
opening sigh indicates. It is now Nerissa who tries to cheer Portia, but
she cannot take her mistressÆs mind off the situation where she is
surrounded by suitors and yet ôcannot choose one, nor refuse noneö.
Shakespeare has to communicate to his audience a lot of information
about the trial that PortiaÆs father devised for the men who wish to
marry her. The information is given gradually, in five separate scenes,
so that we seem to discover the facts just as the suitors do. For the
moment, we are merely told that each candidate must make a choice
between three caskets.
    Nerissa explains why Portia must obey this somewhat absurd
commandment when she says that ôholy men at their death have good
inspirationsö. It was proverbially believed that a good man would be
divinely inspired, and might even speak prophetically, when he was
close to death. To disobey or disregard such an utterance was almost
sacrilege.
    The two young women amuse themselves by gossipping about
the suitors who have already assembled at Belmont. Although Portia
and Nerissa are Italian, they share a sense of humour which is
undoubtedly English. As they laugh about each manÆs peculiarities,
we can learn something of what the Elizabethan Englishmen thought
of their continental neighbours ù and also of how they could laugh at
themselves. The ôyoung baron of Englandö is a caricature of the
Englishman abroad, in the twentieth century as well as in the
sixteenth: the English have never been good at speaking foreign
languages ! Nor is there a ônational dressö for England, such as many
other countries possess; the Englishman was always content (it
seems) to imitate the costumes of other countries. The joke about the
Scottish lord would have a topical significance for ShakespeareÆs
audience. At this time England and Scotland were separate kingdoms,
and in their frequent quarrels the French always promised to aid the
Scots (but rarely kept their promises).
    We are never allowed to see this ôparcel of wooersö, for
Nerissa tells Portia that they have all decided to return home, not
trying their luck with the caskets. There is no doubt that Portia is glad
they are leaving. Nerissa reminds her of a young Venetian whom
Portia met whilst her father was alive, and the promptness with which
Portia recalls BassanioÆs name is enough to tell us that she
remembers him with pleasure. Bassanio is described by Nerissa as ôa
scholar and a soldierö. These qualities made up the ideal courtier in
Elizabethan eyes, and the description may help to prepare us for a
Bassanio who is rather different from the one we left in Venice.
    PortiaÆs enthusiasm dies away, and her weary resignation
returns, when she is told that a new suitor is approaching Belmont. It
is the Prince of Morocco, and the title arouses her prejudice as she
goes inside to prepare for his coming.

Scene 3
Meanwhile, in Venice, Bassanio has found a usurer who can lend the
money he needs. Shylock is very cautious, repeating each of
BassanioÆs demands to make sure that they are perfectly understood.
His deliberation makes Bassanio nervous, and he shows irritation
when Shylock says that ôAntonio is a good manö. The word ôgoodö
has different implications: Bassanio thinks that it refers to AntonioÆs
character, and he is angry that such a man as Shylock should presume
to judge his friend. Shylock, having succeeded in annoying Bassanio,
hastens to explain that by ôgoodö he meant only ôsufficientö ù
financially sound. The two disagree again over the interpretation of
ôassurÆdö, by which Bassanio means that Shylock may trust Antonio;
Shylock says that he will indeed be ôassurÆdö, meaning that he will
take all precautions to protect himself and his money.
    BassanioÆs polite invitation to dinner is refused by Shylock in
words that introduce the theme of racial hatred: he thinks he would be
asked ôto smell porkö, a meat forbidden to Jews by their religion.
Shylock perhaps speaks these words ôasideö, not talking directly to
Bassanio but uttering his thoughts aloud for the audience alone to
hear them, just as only the audience hears the soliloquy in which
Shylock reveals his attitude to Antonio. Religious feeling has some
part in this attitude, but a minor one compared with the enmity he
bears towards a business rival.
    We learn that Antonio disapproves morally of lending money
for interest (and it is a mark of his affection for Bassanio that he is
prepared now to break his own rules). Shylock justifies his activities
by telling the story of Jacob from the Old Testament (Genesis 30:
31û43). Jacob was angry with Laban, his uncle, and tried to outwit
him, using his skill as a shepherd. He believed that the ewes, seeing
the striped twigs in front of them when they conceived, would give
birth to striped or spotted lambs, which Laban had agreed should
become JacobÆs wages. This indeed happened, but whereas Shylock
applauds JacobÆs cunning, Antonio (and most devout Jews) ascribes
the success to the hand of God.
    The merchant and the usurer engage in passionate argument.
Shylock reveals the cruel insults he has had to suffer from Antonio in
the past, but Antonio stands firm in his contempt for the Jew.
He refuses to borrow the money as a friend, but urges Shylock, with
words that he will regret,

        to lend it rather to thine enemy;
Who if he break, thou mayÆst with better face
Exact the penalty.

Shylock proposes ôa merry sportö which Antonio, surprisingly, is
willing to accept. He agrees to the forfeit that Shylock suggests ù
ôan equal pound of your fair fleshö ù to be given if the money
cannot be properly repaid.
    The words ôkindö and ôkindnessö are repeated several times at
the end of this scene. They have a surface meaning ù ôgenerousö and
ôgenerosityö ù which Antonio accepts, and an ironic double
meaning. If Shylock ôgrows kindö in this second sense, he will
become even more like himself, true to his nature. And we have
already, in his soliloquy, seen what this is.

Act 2

Scene 1
Prejudice is the subject of the short episode in Belmont, where we see
PortiaÆs reception of the Prince of Morocco. The princeÆs appearance
shows that he is an exotic figure: a note, probably written by
Shakespeare himself, describes him as ôa tawny [brown] Moor, all in
whiteö. His first speech reinforces our sense that he is excitingly
different from the Europeans that we have seen so far, but it does not
change PortiaÆs mind. She is polite, but we understand, better than
Morocco can, what she means when she tells him that, in her eyes, he
is ôas fair As any comer I have lookÆd on yetö. We have heard what
Portia thought of her other suitors. The PrinceÆs reply to this
ambiguous remark does not encourage our good opinion of him. He
boasts of his own valour and achievements in very exaggerated
language, and so loses some of our sympathy.
    We are given a new piece of information concerning the casket
test. The men who choose wrongly must never again think of
marrying. It is now clear why the earlier suitors left Belmont without
trying their luck; Morocco, however, is not deterred, and prepares to
make his choice.
    Whilst Morocco is taking his oath in the ôtempleö ù many
great houses at this time had their own private chapels ù
Shakespeare returns us to Venice. The next five scenes will send
Bassanio from Venice to Belmont, and introduce a sub-plot,
connected to the main plot through Jessica, ShylockÆs daughter. First,
Shakespeare creates a role for the leading comedian of his acting
company: he is to be Lancelot Gobbo, ShylockÆs servant.

Scene 2
Comedy scenes such as this are the most difficult and unrewarding to
read; they need to be performed, so that the actor can introduce the
visual effects that the lines demand. When Lancelot pretends to be
torn between his conscience and the devil, he might (for instance)
jump to the left when the devil is speaking ù because devils
traditionally appeared on the left ù and to the right when
ôconscienceö replies. There could be humour in the difference
between LancelotÆs appearance (as the miserly ShylockÆs servant he
would not be well dressed) and his grand manner of speech to the old
man; this would emphasize the comedy of the ômistaken identityö
situation. When Old Gobbo feels his sonÆs head and comments on his
ôbeardö, it is obvious from LancelotÆs reply that he has got hold of
the hair tied at the back of his neck; and if Lancelot passes his
fatherÆs hand across his fingers, implying that they are his ribs (ôYou
may tell every finger I have with my ribsö), the comedy will increase
with the old manÆs bewilderment.
    The English language is a very complicated one, and
Englishmen themselves are not always very good at speaking it!
There are many words that sound grand ù but sometimes the people
who use them do not understand their meanings, or else confuse one
word with another that sounds similar. This is especially likely to
happen when the speakers are trying to create a good impression of
themselves. Lancelot and his father are doing this when they address
Bassanio. They are conscious that Bassanio is a gentleman, whilst
they are only peasants, and they try to use what they think is the
proper language of gentlemen. Even in the twentieth century, when
class distinctions are much less clearly marked than they were in the
sixteenth, the writers of television comedy still find subjects for
laughter in our linguistic snobbishness. LorenzoÆs comment is valid
today: ôHow every fool can play upon the wordö (3, 5, 41).
    Bassanio is in a good temper, and responds well to LancelotÆs
fooling; he agrees to employ him and give him ôa livery More
guarded than his fellowsö. A ôguardedö uniform ù one decorated
with yellow braid ù was often worn by the professional fool in a
gentlemanÆs household; perhaps this is the function that Bassanio
intends for Lancelot when he becomes ôThe follower of so poor a
gentlemanö.
    Even though he admits he is poor, Bassanio is already
behaving with his former extravagance, now that he has got
ShylockÆs money. He is planning to give a party before he leaves
Venice. However, he shows a more sedate side of his character when
Graziano asks to accompany him to Belmont. Graziano turns
BassanioÆs solemn warning into comedy. He promises to behave in a
way that is very sober, but at the same time quite ridiculous, and he
probably accompanies his speech with exaggerated gestures.

Scene 3
Quickly, Shakespeare presents his new plot when Jessica gives to
Lancelot the letter she has written to Lorenzo. The short scene takes
the plot one small step further, and it also serves to increase our
dislike for Shylock. We learn that his ôhouse is hellö, and that Jessica
is ôashamÆd to be [her] fatherÆs childö, although she recognizes that it
is a ôheinous sinö for a daughter to have such feelings.

Scene 4
The letter is delivered to Lorenzo when he and his friends are
discussing their costumes for BassanioÆs party. It was quite usual, in
ShakespeareÆs time, for a small band of the guests at a grand feast to
disguise themselves in elaborate costumes and entertain the other
guests with a masque ù a performance with singing and dancing.
Page-boys carried torches for the masquers, and Lorenzo suddenly
realizes how he can steal Jessica away from her fatherÆs house: she
can be disguised as his page.

Scene 5
There can scarcely be a greater contrast than that between the lively
young men planning their eveningÆs entertainment, and the surly
Shylock. He takes no pleasure in the feast, but has decided to ôgo in
hate, to feed upon The prodigal Christianö (yet another comparison of
Bassanio with the Prodigal Son). Shylock is determined to do all he
can to ruin Bassanio, and he even considers that LancelotÆs change of
employer might ôhelp to waste His borrowÆd purseö.

Scene 6
GrazianoÆs reference to the ôpenthouseö under which they are
standing is one of many remarks in Elizabethan drama that help us to
reconstruct, in imagination, the kind of stage that Shakespeare was
writing for. It seems that there was always a balcony, which allowed
ôsplit-levelö acting. In this scene the young men assemble on the
main stage, underneath the ôpenthouseö formed by the balcony on
which Jessica appears, dressed as a boy. She is shy, because in
Elizabethan times women never wore menÆs clothes. Her
embarrassment is expressed with great delicacy, and it is easy to
forget that Shakespeare and his contemporaries would probably have
been a little amused by the situation. In many plays of this period the
female characters put on masculine clothing, and a gentle comedy
arises out of the fact that female characters were always played by
boy actors: the boys dress up as girls, and then the ôgirlsö turn into
boys.
    Waiting for Jessica has made the masquers late for the feast,
and now Antonio comes in search of Graziano. The wind has
changed, and it is time to set sail for Belmont.

Scene 7
Whilst all the activity of JessicaÆs elopement was taking place in
Venice, the Prince of Morocco at Belmont has dined, and sworn an
oath never to look for a wife if he fails the casket test. At last we see
the caskets that we have heard so much about. Each one bears an
inscription, which Morocco reads aloud. The gold and silver caskets
make promises, but the leaden one is menacing. Morocco refuses to
be threatened, and passes to the silver casket, which assures him that
he ôshall get as much as he deservesö. We heard in Act 2, scene 1 that
he has a good opinion of himself, and he is naturally tempted to
choose silver. The golden casket, however, offers ôwhat many men
desireö, and Morocco decides that this refers to Portia, because ôall
the world desires herö. It would be an insult to Portia (he concludes)
to associate her with lead, or even with silver; so he opens the golden
casket.
    The casket contains a skull, the emblem of death ù which
indeed many unhappy men do desire. Shocked and saddened, the
Prince of Morocco departs immediately.

Scene 8
In Venice, Shylock has discovered that his daughter is missing ù and
she has taken a lot of his money with her. Solanio gives a comical
account of the JewÆs confusion, when Shylock apparently did not
know which loss to lament more. It is important that we do not see
Shylock here, because his distress might create too much sympathy
for him. Instead, we join Salerio and Solanio in their laughter.
    But not everything in this scene is comic: there is bad news for
Antonio. A ship has been wrecked in the English Channel, and it may
well be his. The conversation becomes sober, as the two friends think
of AntonioÆs generosity ù ôA kinder gentleman treads not the earthö
ù and remind us of his great affection for Bassanio:

ôI think he only loves the world for himö.

Scene 9
Yet another suitor, the Prince of Aragon, has arrived at Belmont; he
repeats the three promises that he has sworn to keep, and goes to
make his choice of the three caskets. Like the Prince of Morocco, he
reads the inscriptions, and speaks his thoughts aloud. The Prince of
Aragon is excessively conscious of his social position, and insists that
he is different from other men: he will not ôjump with common
spiritsö, and look in the golden casket for ôwhat many men desireö.
He is attracted by the promise of the silver casket: ôWho chooseth me
shall get as much as he deservesö. For a time he meditates on the
subject of nobility and merit, deploring the fact that ôlow peasantryö
(men of humble birth) can be found among noblemen ù ôthe true
seed of honourö. Having convinced himself that he deserves to win
Portia, he opens the silver casket. We are not surprised that this is the
wrong choice, for Aragon has convinced us that he is far too
conceited ù although perhaps he deserves something better than ôthe
portrait of a blinking idiotö.
    As soon as the Prince of Aragon has left, news is brought that
another suitor is approaching. He has already made a good
impression on PortiaÆs servants with the ôGifts of rich valueö that he
has sent to announce his coming; and we recognize the extravagance
that is characteristic of Bassanio. Portia and Nerissa are hopeful.

Act 3

Scene 1
The optimism of Belmont gives place to the darkening atmosphere of
Venice. There is still no confirmation that the ship wrecked in the
English Channel is indeed AntonioÆs, but Solanio believes the rumour
to be true. Shylock also has heard the report, and his anger over his
daughterÆs flight is forgotten for a moment as he gives expression to
his hatred and resentment of Antonio. He has had to suppress his
feelings for years, but now they explode violently. His passion
increases, and so too does the sympathy of the audience. He appeals
to common humanity: ôHath not a Jew eyes? hath not a Jew hands . . .
if you poison us, do we not die?ö He becomes almost a hero, and
certainly a human being ù then suddenly he changes back into a
monster: ôand if you wrong us, shall we not revenge?ö
    Salerio and Solanio are fortunately saved from having to reply
to this tirade; they leave Shylock with another Jew, Tubal, who has
news of Jessica.
    Shylock experiences another confusion of emotions as Tubal
imparts various pieces of information in an incoherent manner.
Jessica is spending her fatherÆs money recklessly, and in exchange for
a pet monkey she has given away the ring that was a token of
betrothal from her mother to her father. Grief and anger conflict with
malicious glee when Shylock hears of AntonioÆs misfortunes, and it
is clear that he will take revenge for the loss of his daughter and his
ring when he claims the forfeit from Antonio.

Scene 2
Portia is happy in BassanioÆs company, and she tries to persuade him
to stay at Belmont for a few days before making his choice of the
caskets. Her happiness is mingled with modesty, for she is too shy to
tell Bassanio that she loves him. Bassanio too has fallen in love, but
he cannot endure the uncertainty and feels that he must try his luck as
soon as possible. So Portia orders Nerissa and the servants to stand
aside, away from the caskets. Portia and Bassanio seem to be alone
on the stage. Music is playing, whilst Portia watches the man she
loves as he tries to make the decision that will bring happiness to both
of them.
    The song that helps to create a magic atmosphere also
introduces BassanioÆs meditation on appearance and reality. He is
speaking only to himself; Portia does not hear him, just as he did not
hear her speech before the song. The audience, of course, knows
which casket Bassanio must choose, because Shakespeare has already
shown us the contents of the gold and silver caskets.
    Portia is almost overcome with delight when Bassanio selects
the ômeagre leadö; and when Bassanio finds ôFair PortiaÆs
counterfeitö in the casket he is ecstatically happy. He praises the
picture rapturously, and for a time cannot believe his luck.
    A rather more materialistic note is heard in the metaphorical
language when Portia wishes to ôstand high in [BassanioÆs] accountö,
and offers him ôthe full sumö of herself; it is repeated when Graziano
refers to the ô bargainö of their faith. But to balance this there is the
ritual moment when Portia gives away all that she owns (including
ôthis same myselfö) and as a token places a ring on BassanioÆs finger.
Bassanio accepts the token, and binds himself to Portia:

                    when this ring
Parts from this finger, then parts life from hence.

Graziano and Nerissa announce their intention of imitating Bassanio
and Portia; and the happiness of the moment is complete.
    It is now time to change the direction of the scene, and
Shakespeare switches the mood with a bawdy joke (in prose).
    The arrival of Salerio, Lorenzo, and Jessica is a welcome
surprise, but the letter that Salerio has brought from Venice ôsteals
the colour from BassanioÆs cheekö. Things have gone very badly for
Antonio: he is ruined. Salerio can tell of ShylockÆs eagerness to claim
his bond from Antonio, and Jessica is able to bear witness of her
fatherÆs fiendish malice: ôhe would rather have AntonioÆs flesh Than
twenty times the value of the sum That he did owe himö. Portia is
more than able to pay back the three thousand ducats, but we can take
no comfort from her offer. The situation seems hopeless, and when
AntonioÆs pathetic letter is read aloud it destroys the last remaining
scrap of the happiness established in the scene.

Scene 3
A short scene shows us what the letter described. Antonio, in the
custody of a gaoler, meets Shylock. The Jew will hear no please for
mercy, and Antonio knows that it is useless to speak to him. Solanio
hopes that the Duke will be able to intervene in the dispute, but
Antonio knows the importance of strict justice in the mercantile
world of which Venice is the head. This is a subject that will be
mentioned at AntonioÆs trial.

Scene 4
Lorenzo has been telling Portia about Antonio, and Portia has decided
that she and Nerissa will go away for a few days, leaving Belmont in
the care of Lorenzo. She sends a servant to her cousin in Padua,
asking for some ônotes and garmentsö. We understand the request for
clothes when Portia explains to Nerissa that they are going to dress up
as men, and that she herself will imitate all the mannerisms of a brash
young man ù including the voice that is ôbetween the change of man
and boyö.

Scene 5
The next scene, still at Belmont, does nothing to develop any plot.
But it encourages the audience to imagine that enough time has
passed to allow Portia and Nerissa to travel from Belmont to Venice;
on a practical level, it gives the actors time to change from their
female dresses to the male costumes required in the following scene.
In addition, it provides an opportunity for the comedian, in the part of
Lancelot, to deliver some more of his word-play jokes. Lancelot, of
course, accompanied his new master when Bassanio came to
Belmont.

Act 4

Scene 1
The trial scene in The Merchant of Venice is the most famous scene in
English drama. It has given a phrase to the English language: people
who have never read the play ù and perhaps never even heard of it
ù understand what it means to want oneÆs ôpound of fleshö.
    The conversation between the Duke and Antonio, before
Shylock comes on to the stage, shows the hopeless resignation with
which Antonio faces ShylockÆs wrath. The Duke makes a further plea
for mercy, but Shylock is unmoved. He will admit that his hatred for
Antonio is irrational and emotional: just as some people hate cats, or
the sound of bagpipes, so (he says)

    can I give no reason, nor I will not,
More than a lodgÆd hate and a certain loathing
I bear Antonio.

Antonio is not intimidated, and shows his contempt for ShylockÆs
ôJewish heartö. Bassanio offers to repay twice the money that he
borrowed, but Shylock will not yield, and reminds the court that the
pound of flesh is his by law. If the Duke refuses to grant this, it will
appear that ôThere is no force in the decrees of Veniceö. We
remember AntonioÆs words (3, 3, 27û31), and realize that, if the law
is not observed, Venice will suffer in its reputation as the centre of
international trade.
    The Duke has made a final attempt to save Antonio legally. He
has asked for the opinion of a famous lawyer, Bellario, and the court
waits to hear this manÆs judgement. Bassanio is optimistic, but the
tension of the situation has made Antonio even more resigned to his
fate; he almost feels that he deserves to die.
    The lawyerÆs clerk has brought a letter from Bellario, and
whilst the Duke reads the letter, Shylock sharpens his knife. Graziano
cannot bear to see this sight, and he begins to abuse Shylock. The Jew
appears to be unaffected by his insults, for he knows the strength of
his position: ôI stand here for lawö.
    Bellario is sick, and cannot come to Venice; instead he has sent
a legal colleague, ôa young doctor of Romeö, who is fully acquainted
with the case. The audience recognizes this ôdoctorö: it is Portia, and
the ôclerkö was Nerissa. The other characters of the play, however,
cannot penetrate the disguise.
    Portia upholds Venetian law, but she urges Shylock to show
mercy. She describes the ôquality of mercyö as a divine blessing,
which benefits both the man who shows mercy and the man who
receives it. The petition in the LordÆs Prayer, ôforgive us our
trespassesö, comes to mind when Portia explains how mercy belongs
to God; if this were not so, the whole human race would be damned
for its sins. But this is Christian doctrine, and ShylockÆs religion is of
the Old Testament, which emphasizes the importance of the law, just
as Shylock does now: ôI crave the lawö.
    Once again Bassanio offers the money; again Shylock refuses
it; and once more we are reminded that a general principle lies
beneath this particular instance:

ÆTwill be recorded for a precedent,
And many an error by the same example
Will rush into the state.

The statement is harsh, but it is correct. Portia has earned ShylockÆs
praise ôA Daniel come to judgementö. Daniel was ôa young youthö,
according to ôThe Story of Susannaö in the Apocrypha. He was
inspired by God to give judgement when the chaste Susanna was
accused of adultery by two lascivious ôeldersö who had tried to rape
her.
    Portia continues to win ShylockÆs approval as she instructs the
court about the penalty that Antonio must pay. The knife is
sharpened, and the scales are ready; Antonio prepares for death. He
speaks a few words of comfort to Bassanio, ending with a wry jest
about the debt:

For if the Jew do cut but deep enough,
IÆll pay it instantly with all my heart.

    The tension is broken, but only for a moment, when Bassanio
and Graziano refer to their wives. The ôlawyerö and his ôclerkö are
amused.
    Just when Shylock is ready to cut into AntonioÆs flesh, Portia
stops the proceedings. She reveals to Shylock the single flaw in his
carefully worded bond: he is entitled to his pound of flesh, but has
made no provision for a single drop of blood.
    Graziano exults over Shylock, repeating ironically all the
words of praise that the Jew bestowed on the ôlearned judgeö, and
agreeing that he is indeed ôA second Danielö. Like Portia, Daniel was
not expected in the court, and the verdict he gave saved Susanna and
condemned her accusers. The comparison is more apt now than it was
when Shylock introduced it.
    Shylock realizes that he cannot have his pound of flesh, and he
tries to take the money that Bassanio is still offering. Now it is
PortiaÆs turn to be inflexible, and she insists that Shylock can have
ômerely justice, and his bondö. When Shylock proposes to leave the
court, Portia calls him back. The law of Venice has a strict penalty
that must be paid by any ôalienö ù foreigner ù who tries to murder
a Venetian. Shylock has thus offended, and for this crime his
possessions are confiscated and his life is in danger. Antonio, of
course, shows his generosity. Half of ShylockÆs wealth is forfeited to
him, but he is willing to renounce his personal share and take the
money on loan, keeping it in trust for Lorenzo, ôthe gentleman That
lately stole his daughterö. He makes two conditions: firstly, Shylock
must become a Christian; and, secondly, he must make a will leaving
all that he possesses to Jessica and Lorenzo. Shylock is utterly
defeated. He asks for permission to leave the court, and indicates his
agreement to AntonioÆs conditions: ôsend the deed after me And I
will sign itö.
    For a long time Bassanio has been silent, perhaps because the
events have affected him very deeply and prevented him from sharing
in GrazianoÆs expressions of triumph. Sometimes GrazianoÆs
speeches seem rather cruel, for although Shylock undoubtedly
deserves punishment, it is hard that he should lose everything,
including his right to believe in the Jewish faith. Graziano, however,
shows the character that Bassanio rebuked him for before the two
men went to Belmont ù ôbold of voiceö and with a ôskipping spiritö
(2, 2, 173; 179). Bassanio and Antonio are more dignified in their
behaviour.
    It is only necessary now to pay the ôlawyerö, and then Bassanio
can take Antonio home to Belmont, to meet his new wife. The
ôlawyerö refuses payment, then suddenly catches sight of a ring on
BassanioÆs finger, and requests this as a keepsake. It is the ring that
Portia gave to Bassanio, telling him that if he should ever part with it
for any reason, it would ôpresage the ruin of [his] loveö.
Remembering this, Bassanio refuses; the ôlawyerö departs, apparently
angry. Antonio begs Bassanio not to withhold the ring, and Bassanio
cannot refuse the friend who risked so much for him.

Scene 2
Graziano hurries after Portia to give her BassanioÆs ring. Nerissa, still
disguised as the lawyerÆs clerk, whispers to Portia that she will use a
similar trick to get her own ring from Graziano. The two girls laugh
in anticipation of their husbandsÆ embarrassment when they return to
Belmont.

Act 5

Scene 1
Moonlight and music emphasize the tranquillity of Belmont and its
contrast with the harsh legal world of Venice. Lorenzo and Jessica are
relaxed here, and JessicaÆs escape from the ôhellö of her fatherÆs
house seems to be almost as remote in time as the mythological
lovers who are recalled by the moonlight. The mood of the scene is
saved from being over-romantic when the couple start to tease each
other, and when the messengers break in with their news. Harmony is
restored, however, when Lorenzo and Jessica are alone again.
Lorenzo starts to explain the theory of the music of the spheres,
which Plato (a Greek philosopher) described. The music was made as
the spheres touched each other in their constant motion, but could not
be heard by human ears, which are deafened by the noises of earthly
life.
    PortiaÆs musicians appear, probably on the balcony, to ôdraw
[their mistress] home with musicö. The beauty of LorenzoÆs speech
(when he describes the ôpatens of bright goldö, and the ôyoung-eyed
cherubinsö) blends with the playing of the musicians to re-create, in
human terms, the heavenly harmony. Lorenzo and Jessica fall silent;
perhaps they are asleep.
    Portia and Nerissa come from the opposite side of the stage as
they approach Belmont from Venice. Their chatter breaks into the
music, and the dream world becomes real. A trumpet announces the
arrival of Bassanio, just as day is breaking. The missing rings provide
a final gentle comedy, as the two embarrassed husbands try to justify
their actions to wives who are trying to hide their amusement.
    In the end, of course, all is happiness. Lorenzo and Jessica join
the other two couples, and Portia gives Antonio a last surprise ù the
news that three of his ships ôAre richly come to harbour suddenlyö.
There can be no reaction from the audience other than AntonioÆs ôI
am dumbö, and final applause for Shakespeare. He has taken three
main strands ù the casket story, the bond story, and the ring story ù
and woven them into a single plot, which brings all three stories to a
successful conclusion, and ensures that all the characters ù with one
exception ù ôlive happily ever afterö, just as fairy-tale characters
ought to do.