The Merchant of Venice (Folger Shakespeare Library)

by William Shakespeare

In sooth I know not why I am so sad.

< ACT 1 > < Scene 1 > Enter Antonio, Salarino, and Solanio. ANTONIO In sooth I know not why I am so sad. 1 [Act 1 Scene 1]

I hold the world but as the world, Gratiano, 81 A stage where every man must play a part, 82 And mine a sad one.

ANTONIO I hold the world but as the world, Gratiano, 81 A stage where every man must play a part, 82 And mine a sad one. 83 [Act 1 Scene 1]

Let me play the fool.

“I am Sir Oracle, 98 And when I ope my lips, let no dog bark.

Gratiano speaks an infinite deal of nothing,

By my troth, Nerissa, my little body is aweary 1 of this great world.

It is a good divine 14 that follows his own instructions.

God made him, and therefore let him pass for 56 a man.

PORTIA God made him, and therefore let him pass for 56 a man. [Act 1 Scene 2]

I will buy with you, sell with you, talk 35 with you, walk with you, and so following; but I 36 will not eat with you, drink with you, nor pray with 37 you.—What news on the Rialto?

SHYLOCK . . . I will buy with you, sell with you, talk 35 with you, walk with you, and so following; but I 36 will not eat with you, drink with you, nor pray with 37 you.—What news on the Rialto?— [Act 1 Scene 3]

How like a fawning publican he looks! 41 I hate him for he is a Christian, 42 But more for that in low simplicity 43 He lends out money gratis and brings down 44 The rate of usance here with us in Venice.

Enter Antonio. BASSANIO This is Signior Antonio. 40 SHYLOCK , < aside > How like a fawning publican he looks! 41 I hate him for he is a Christian, 42 But more for that in low simplicity 43 He lends out money gratis and brings down 44 The rate of usance here with us in Venice. 45 [Act 1 Scene 3]

The devil can cite Scripture for his purpose!

ANTONIO , < aside to Bassanio > Mark you this, Bassanio, 106 The devil can cite Scripture for his purpose! 107 [Act 1 Scene 3]

I like not fair terms and a villain’s mind.

BASSANIO I like not fair terms and a villain’s mind. 192 ANTONIO Come on, in this there can be no dismay; 193 My ships come home a month before the day. 194 They exit. [Act 1 Scene 3]

Mislike me not for my complexion, 1 The shadowed livery of the burnished sun,

< ACT 2 > < Scene 1 > Enter < the Prince of > Morocco, a tawny Moor all in white, and three or four followers accordingly , with Portia, Nerissa, and their train. MOROCCO Mislike me not for my complexion, 1 The shadowed livery of the burnished sun , 2 To whom I am a neighbor and near bred . 3 Bring me the fairest creature northward born, 4 Where Phoebus ’ fire scarce thaws the icicles, 5 And let us make incision for your love 6 To prove whose blood is reddest , his or mine. 7 [Act 2 Scene 1]

It is a wise father that 74 knows his own child.

LANCELET Nay, indeed, if you had your eyes, you might 73 fail of the knowing me. It is a wise father that 74 knows his own child . < He kneels. > Give me your bless- 76 ing. Truth will come to light, murder cannot be hid 77 long a man’s son may, but in the end, truth will 78 out. 79 [Act 2 Scene 2] Footnote 74 –75. It is . . . his own child: inversion of the proverb “ It is a wise child that knows his own father ”

Truth will come to light, murder cannot be hid 77 long—a man’s son may, but in the end, truth will 78 out.

Father, come. I’ll take my leave of the Jew in the 166 twinkling.

LANCELET Father, in. I cannot get a service , no! I have 155 ne’er a tongue in my head! Well, < studying his palm > 156 if any man in Italy have a fairer table which doth 157 offer to swear upon a book—I shall have good 158 fortune, go to ! Here’s a simple line of life . Here’s a 159 small trifle of wives—alas, fifteen wives is nothing; 160 eleven widows and nine maids is a simple coming-161 in for one man—and then to ’scape drowning 162 thrice, and to be in peril of my life with the edge of a 163 featherbed ! Here are simple ’ scapes . Well, if For-164 tune be a woman, she’s a good wench for this gear . 165 Father, come. I’ll take my leave of the Jew in the 166 twinkling . 167 < Lancelet and old Gobbo > exit. [Act 2 Scene 2] Footnotes 155 . service: position as a servant 157 . table: palm of the hand (See picture.) The “table” of the hand. ( 2.2.157 ) From Johannes ab Indagine, The book of palmestry . . . (1666). 159 . go to: expression of impatience; line of life: a line used by palmists (Lancelet begins reading his palm.) 161 –62. simple coming-in: humble beginning 163 –64. to . . . featherbed: a reference perhaps to the danger of marriage or of a sexual encounter 164 . scapes: transgressions 164 –65. Fortune: i.e., the goddess Fortuna (See note to 2.1.37 .) 165 . for this gear: for this business 167 . twinkling: instant ( twinkling of an eye)

But love is blind, and lovers cannot see 37 The pretty follies that themselves commit,

JESSICA Here, catch this casket; it is worth the pains. 34 I am glad ’tis night, you do not look on me, 35 For I am much ashamed of my exchange . 36 But love is blind , and lovers cannot see 37 The pretty follies that themselves commit, 38 For if they could, Cupid himself would blush 39 To see me thus transformèd to a boy. 40 [Act 2 Scene 6] Footnotes 36 . exchange: i.e., change, through disguise, from woman to boy 37 . “Love [Cupid] is blind.” ( 2.6.37 ; see also 2.6.39 , 2.9.108 ) From Henry Peacham, Minerua Britanna . . . (1612). 38 . pretty: ingenious, clever, skillful 39 . Cupid: Roman god of love (See picture .)

Go, draw aside the curtains and discover 1 The several caskets to this noble prince.

< Scene 7 > Enter Portia with < the Prince of > Morocco and both their trains . PORTIA Go, draw aside the curtains and discover 1 The several caskets to this noble prince. 2 < A curtain is drawn. > Now make your choice. 3 MOROCCO This first, of gold, who this inscription bears, 4 “Who chooseth me shall gain what many men 5 desire”; 6 The second, silver, which this promise carries, 7 “Who chooseth me shall get as much as he 8 deserves”; 9 This third, dull lead, with warning all as blunt , 10 “Who chooseth me must give and hazard all he 11 hath.” 12 How shall I know if I do choose the right? 13 PORTIA The one of them contains my picture, prince. 14 If you choose that, then I am yours withal . 15 [Act 2 Scene 7] Footnotes 2.7 At Belmont the Prince of Morocco attempts to choose the right chest and win Portia. He picks the gold one and finds in it a skull and a warning not to choose on the basis of appearances. He leaves in disappointment. 0 SD . trains: retinues, attendants 1 . discover: reveal 2 . several: various 4 . who: which 10 . all as blunt: i.e., as blunt (straightforward) as lead is blunt (dull) 15 . withal: i.e., together with the picture 17 . back again: i.e., again

All that glisters is not gold

Young in limbs, in judgment old,

Behold, there stand the caskets, noble prince. 4 If you choose that wherein I am contained, 5 Straight shall our nuptial rites be solemnized. 6 But if you fail, without more speech, my lord, 7 You must be gone from hence immediately.

< Scene 9 > Enter Nerissa and a Servitor . NERISSA Quick, quick, I pray thee, draw the curtain straight . 1 The Prince of Arragon hath ta’en his oath 2 And comes to his election presently. 3 Enter < the Prince of > Arragon, his train, and Portia. PORTIA Behold, there stand the caskets, noble prince. 4 If you choose that wherein I am contained, 5 Straight shall our nuptial rites be solemnized. 6 But if you fail, without more speech, my lord, 7 You must be gone from hence immediately. 8 [Act 2 Scene 9] Footnotes 2.9 At Belmont the Prince of Arragon attempts to win Portia by choosing the silver chest, but finds in it the picture of a blinking idiot. He leaves. A messenger announces the arrival of a splendid envoy from another suitor. Nerissa prays that this one is Bassanio. 0 SD . Servitor: servant 1 . draw . . . straight: i.e., open the curtains immediately (to reveal the caskets) Compare 2.7.1 –2. 3 . to his election: to make his choice (of casket) 5 . I: i.e., my picture 6 . Straight: straightaway, at once

choose

The portrait of a blinking idiot

Now, what news on the Rialto?

Let him look to his bond.

Hath not 57 a Jew eyes?

If you prick us, do we not 63 bleed? If you tickle us, do we not laugh? If you 64 poison us, do we not die? And if you wrong us, shall 65 we not revenge?

The villainy you teach me I 70 will execute, and it shall go hard but I will better the 71 instruction.

Tell me where is fancy bred, 65 Or in the heart, or in the head?

PORTIA Live thou , I live. With much much more dismay 63 I view the fight than thou that mak’st the fray . 64 A song the whilst Bassanio comments on the caskets to himself. Tell me where is fancy bred, 65 Or in the heart, or in the head? 66 How begot, how nourishèd? 67 Reply, reply. 68 It is engendered in the eye, 69 With gazing fed, and fancy dies 70 In the cradle where it lies. 71 Let us all ring fancy’s knell . 72 I’ll begin it.—Ding, dong, bell. 73 ALL Ding, dong, bell. 74 Footnotes 64 . thou that mak’st the fray: i.e., you who fight 65 –73. Tell . . . bell: The early printings of this play do not specify who sings this song. Only line 74 , “ Ding, dong, bell, ” is said to be sung by “All.” 65 . fancy: i.e., desire 72 . knell: the solemn bell marking a death

Yes, truly, for look you, the sins of the father 1 are to be laid upon the children.

LANCELET Yes, truly, for look you, the sins of the father 1 are to be laid upon the children . Therefore I 2 promise you I fear you . I was always plain with you, 3 and so now I speak my agitation of the matter. 4 Therefore be o’ good cheer, for truly I think you 5 are damned. There is but one hope in it that can do 6 you any good, and that is but a kind of bastard hope 7 neither. 8 [Act 3 Scene 5] Footnotes 1 –2. sins . . . children: See Deuteronomy 5.9, where God promises to visit “the iniquity of the fathers upon the children, even unto the third and fourth generation.” (See also Exodus 20.5 and 34.7.) 3 . fear you: i.e., fear for you 4 . agitation: i.e., perhaps, cogitation 7 . bastard: counterfeit, not genuine (Jessica picks up the usual meaning of the word at line 12 .)

I am a tainted wether of the flock, 116 Meetest for death.

I 164 never knew so young a body with so old a head.

DUKE With all my heart.—Some three or four of you 150 Go give him courteous conduct to this place. 151 < Attendants exit. > Meantime the court shall hear Bellario’s letter. 152 < He reads. > Your Grace shall understand that, at the receipt of 153 your letter, I am very sick, but in the instant that your 154 messenger came, in loving visitation was with me a 155 young doctor of Rome. His name is Balthazar. I 156 acquainted him with the cause in controversy between 157 the Jew and Antonio the merchant. We turned o’er 158 many books together. He is furnished with my opin-159 ion , which, bettered with his own learning (the great-160 ness whereof I cannot enough commend), comes with 161 him at my importunity to fill up your Grace’s request 162 in my stead . I beseech you let his lack of years be no 163 impediment to let him lack a reverend estimation , for I 164 never knew so young a body with so old a head. I 165 leave him to your gracious acceptance, whose trial 166 shall better publish his commendation. 167 You hear the learnèd Bellario what he writes . 168 Enter Portia for Balthazar, < disguised as a doctor of laws, with Attendants. > And here I take it is the doctor come.—169 Give me your hand. Come you from old Bellario? 170 [Act 4 Scene 1] Footnotes 151 . give . . . conduct: i.e., courteously conduct him 153 . the receipt: i.e., the moment of receiving 156 . doctor: i.e., doctor of laws 158 . turned o’er: searched 159 . furnished: provided 159 –60. opinion: judgment 162 . fill up: fulfill 163 . stead: place; lack of years: youth 164 . let him lack: cause him to lack; reverend estimation: high esteem 166 . trial: performance when put to the test 167 . publish: make known 168 . You hear . . . writes: i.e., you hear what the learnèd Bellario writes

The quality of mercy is not strained. 190 It droppeth as the gentle rain from heaven 191 Upon the place beneath. It is twice blest: 192 It blesseth him that gives and him that takes.

PORTIA , < as Balthazar > The quality of mercy is not strained . 190 It droppeth as the gentle rain from heaven 191 Upon the place beneath. It is twice blest : 192 It blesseth him that gives and him that takes. 193 [Act 4 Scene 1] Footnotes 190 . strained: constrained, compelled 192 . is twice blest: i.e., gives a double blessing

The moon shines bright. In such a night as this,

How sweet the moonlight sleeps upon this bank.

I am never merry when I hear sweet music.

JESSICA I am never merry when I hear sweet music. 77 [Act 5 Scene 1)]

The man that hath no music in himself, 92 Nor is not moved with concord of sweet sounds, 93 Is fit for treasons, stratagems, and spoils; 94 The motions of his spirit are dull as night, 95 And his affections dark as <Erebus.> 96 Let no such man be trusted.

LORENZO The reason is, your spirits are attentive. 78 For do but note a wild and wanton herd 79 Or race of youthful and unhandled colts, 80 Fetching mad bounds , bellowing and neighing loud, 81 Which is the hot condition of their blood, 82 If they but hear perchance a trumpet sound, 83 Or any air of music touch their ears, 84 You shall perceive them make a mutual stand , 85 Their savage eyes turned to a modest gaze 86 By the sweet power of music. Therefore the poet 87 Did feign that Orpheus drew trees, stones, and 88 floods , 89 Since naught so stockish , hard, and full of rage, 90 But music for the time doth change his nature. 91 The man that hath no music in himself, 92 Nor is not moved with concord of sweet sounds, 93 Is fit for treasons, stratagems, and spoils ; 94 The motions of his spirit are dull as night, 95 And his affections dark as < Erebus . > 96 Let no such man be trusted. Mark the music. 97 Enter Portia and Nerissa. [Act 5 Scene 1] Footnotes 81 . Fetching mad bounds: i.e., madly leaping 85 . make . . . stand: i.e., all stand still 87 –89. the poet . . . floods: Many poets wrote of Orpheus, the mythological musician whose music was so enticing that it drew even inanimate objects toward him. (See picture.) Probably the poet refers to Ovid. (See his Metamorphoses 10.86–103.) Orpheus. ( 5.1.88 ) From Ovid, Metamorphoseon . . . (1565). 90 . naught: nothing; stockish: i.e., like a stock or post 91 . his: i.e., its 94 . stratagems, and spoils: violent deeds and pillage 96 . affections: inclinations; Erebus: a place of darkness between Earth and Hades 97 . Mark: listen to

How far that little candle throws his beams! 99 So shines a good deed in a naughty world.

PORTIA That light we see is burning in my hall. 98 How far that little candle throws his beams! 99 So shines a good deed in a naughty world. 100

the moon sleeps with Endymion 118 And would not be awaked!

PORTIA The crow doth sing as sweetly as the lark 111 When neither is attended , and I think 112 The nightingale, if she should sing by day 113 When every goose is cackling, would be thought 114 No better a musician than the wren. 115 How many things by season seasoned are 116 To their right praise and true perfection! 117 Peace—how the moon sleeps with Endymion 118 And would not be awaked! 119 < Music ceases. > [Act 5 Scene 1] Footnotes 112 . attended: listened to, heard 116 . by season: by appearing at the proper time; seasoned are: are perfected, made fit 117 . right: just 118 . Endymion: in mythology, a mortal loved by the moon

Why, this is like the mending of highways 282 In summer, where the ways are fair enough!

Let it be so.

GRATIANO Let it be so. The first inter’gatory 322 That my Nerissa shall be sworn on is 323 Whether till the next night she had rather stay 324 Or go to bed now, being two hours to day. 325 But were the day come, I should wish it dark 326 Till I were couching with the doctor’s clerk. 327 Well, while I live, I’ll fear no other thing 328 So sore as keeping safe Nerissa’s ring. 329 They exit. [Act 5 Scene 1] Footnotes 324 . stay: wait 329 . sore: i.e., sorely, greatly