This is a modern-English version of The Merchant of Venice, originally written by Shakespeare, William. It has been thoroughly updated, including changes to sentence structure, words, spelling, and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If you click on a paragraph, you will see the original text that we modified, and you can toggle between the two versions.

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THE MERCHANT OF VENICE

by William Shakespeare


Contents

ACT I
Scene I. Venice. A street.
Scene II. Belmont. A room in Portia’s house.
Scene III. Venice. A public place.

ACT II
Scene I. Belmont. A room in Portia’s house.
Scene II. Venice. A street.
Scene III. The same. A room in Shylock’s house.
Scene IV. The same. A street.
Scene V. The same. Before Shylock’s house.
Scene VI. The same.
Scene VII. Belmont. A room in Portia’s house.
Scene VIII. Venice. A street.
Scene IX. Belmont. A room in Portia’s house.

ACT III
Scene I. Venice. A street.
Scene II. Belmont. A room in Portia’s house.
Scene III. Venice. A street.
Scene IV. Belmont. A room in Portia’s house.
Scene V. The same. A garden.

ACT IV
Scene I. Venice. A court of justice.
Scene II. The same. A street.

ACT V
Scene I. Belmont. The avenue to Portia’s house.

Dramatis Personæ

THE DUKE OF VENICE
THE PRINCE OF MOROCCO, suitor to Portia
THE PRINCE OF ARRAGON, suitor to Portia
ANTONIO, a merchant of Venice
BASSANIO, his friend, suitor to Portia
GRATIANO, friend to Antonio and Bassanio
SOLANIO, friend to Antonio and Bassanio
SALARINO, friend to Antonio and Bassanio
LORENZO, in love with Jessica
SHYLOCK, a rich Jew
TUBAL, a Jew, his friend
LAUNCELET GOBBO, a clown, servant to Shylock
OLD GOBBO, father to Launcelet
LEONARDO, servant to Bassanio
BALTHAZAR, servant to Portia
STEPHANO, servant to Portia
SALERIO, a messenger from Venice

THE DUKE OF VENICE
THE PRINCE OF MOROCCO, a suitor to Portia
THE PRINCE OF ARRAGON, a suitor to Portia
ANTONIO, a merchant of Venice
BASSANIO, his friend, a suitor to Portia
GRATIANO, a friend of Antonio and Bassanio
SOLANIO, a friend of Antonio and Bassanio
SALARINO, a friend of Antonio and Bassanio
LORENZO, in love with Jessica
SHYLOCK, a wealthy Jew
TUBAL, a Jew and his friend
LAUNCELET GOBBO, a clown and servant to Shylock
OLD GOBBO, Launcelet's father
LEONARDO, a servant of Bassanio
BALTHAZAR, a servant of Portia
STEPHANO, a servant of Portia
SALERIO, a messenger from Venice

PORTIA, a rich heiress
NERISSA, her waiting-woman
JESSICA, daughter to Shylock

PORTIA, a wealthy heiress
NERISSA, her maid
JESSICA, daughter of Shylock

Magnificoes of Venice, Officers of the Court of Justice, a Gaoler, Servants and other Attendants

Magnates of Venice, Court of Justice Officers, a Jailor, Servants, and other Attendants

SCENE: Partly at Venice, and partly at Belmont, the seat of Portia on the Continent

ACT I

SCENE I. Venice. A street.

Enter Antonio, Salarino and Solanio.

Enter Antonio, Salarino and Solanio.

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.
Honestly, I don’t know why I feel so sad,
It tires me, and you say it tires you;
But how I got this sadness, found it, or acquired it,
What it’s made of, where it comes from,
I still need to figure out.
And this confusing sadness has me so turned around,
That I can barely even recognize myself.

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

SALARINO.
Your thoughts are drifting on the ocean,
Where your ships, with their impressive sails,
Like wealthy gentlemen and rich merchants on the water,
Or like the grand displays of the sea,
Look down on the small-time traders
Who bow to them and show them respect,
As they pass by with their sails full.

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.
Honestly, sir, if I had such an opportunity,
The bigger part of my feelings would
Be focused on my hopes out there. I’d still be
Pulling at the grass to feel which way the wind blows,
Looking at maps for ports, piers, and routes;
And anything that could make me worry
About bad luck for my ventures would surely
Make me feel down.

SALARINO.
My wind cooling my broth
Would blow me to an ague when I thought
What harm a wind too great might do at sea.
I should not see the sandy hour-glass run
But I should think of shallows and of flats,
And see my wealthy Andrew dock’d 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 bechanc’d would make me sad?
But tell not me, I know Antonio
Is sad to think upon his merchandise.

SALARINO.
My wind cooling my soup
Would make me anxious if I thought
About the damage a strong wind might cause at sea.
I shouldn’t watch the sandy hourglass run
Without thinking of shallow waters and flats,
And see my wealthy ship Andrew stuck in sand,
Lowering her high mast below her hull
To face her end. Should I go to church
And see the holy stone building
And not immediately think of dangerous rocks,
Which, if they just brushed my gentle boat’s side,
Would scatter all her spices on the water,
Drape the raging waters with my silks,
And, in a moment, once worth this,
And now worth nothing? Should I even think
About this, and should I not realize
That such a thing happening would make me sad?
But don’t tell me otherwise, I know Antonio
Is upset thinking about his cargo.

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.
Trust me, no. I'm grateful for that,
My investments aren't all tied to one thing,
Or in one location; my entire wealth
Isn't resting on the luck of this year.
So my trading doesn’t make me feel down.

SALARINO.
Why then you are in love.

So, you're in love.

ANTONIO.
Fie, fie!

ANTONIO.
No way!

SALARINO.
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 fram’d strange fellows in her time:
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.

SALARINO.
Not in love either? Then let's say you're sad
Because you're not happy; and it would be just as easy
For you to laugh and jump around and say you're happy
Because you're not sad. Now, by two-faced Janus,
Nature has created some strange characters over time:
Some who will always peep through their eyes,
And laugh like parrots at a piper.
And others with such a sour expression
That they won't even show their teeth to smile
Even if Nestor himself swears the joke is funny.

Enter Bassanio, Lorenzo and Gratiano.

Enter Bassanio, Lorenzo, and Gratiano.

SOLANIO.
Here comes Bassanio, your most noble kinsman,
Gratiano, and Lorenzo. Fare ye well.
We leave you now with better company.

SOLANIO.
Here comes Bassanio, your most honorable cousin,
Gratiano, and Lorenzo. Take care.
We’re leaving you now with better company.

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

SALARINO.
I would have stayed until I made you happy,
If better friends hadn’t stopped me.

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.
I hold you in very high regard.
I assume that your own matters require your attention,
And you’re taking this opportunity to leave.

SALARINO.
Good morrow, my good lords.

Salarino. Good morning, my lords.

BASSANIO.
Good signiors both, when shall we laugh? Say, when?
You grow exceeding strange. Must it be so?

BASSANIO.
Good gentlemen, when are we going to laugh? Come on, tell me when?
You're acting really weird. Does it have to be like this?

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

SALARINO.
We’ll take our time to join you.

[Exeunt Salarino and Solanio.]

[Exit Salarino and Solanio.]

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

LORENZO.
My Lord Bassanio, now that you’ve found Antonio,
We’ll leave you for now, but please remember where we’ll meet for dinner.

BASSANIO.
I will not fail you.

BASSANIO.
I won't let you down.

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

GRATIANO.
You don't look well, Signior Antonio,
You put too much value on the world.
People lose it when they buy it with too much worry.
Honestly, you've changed a lot.

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.
I see the world just as it is, Gratiano,
A stage where everyone has to play a role,
And mine is a sad one.

GRATIANO.
Let me play the fool,
With mirth and laughter let old wrinkles come,
And let my liver rather heat with wine
Than my heart 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 wilful stillness entertain,
With purpose to be dress’d in an opinion
Of wisdom, gravity, profound conceit,
As who should say, “I am Sir Oracle,
And when I ope my lips, let no dog bark.”
O my Antonio, I do know of these
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 a while.
I’ll end my exhortation after dinner.

GRATIANO.
Let me be the fool,
With laughter and joy, let old wrinkles appear,
And I'd rather let my liver heat up with wine
Than let my heart cool down with depressing groans.
Why should a man with warm blood inside
Sit there like his grandfather carved in stone?
Sleep when he's awake? And sink into gloom
By being irritable? I’ll tell you, Antonio,
(I love you, and it’s my love that’s speaking):
There are some guys whose faces
Look calm and smooth like a still pond,
And choose to be silent,
Trying to present themselves as wise,
Serious, and deeply thoughtful,
As if to say, “I am the expert,
And when I speak, let no one disagree.”
Oh my Antonio, I know these guys
Are considered wise only
Because they don’t say anything; yet I’m sure,
If they did speak, they'd almost shame those who hear
Them, making their listeners feel foolish.
I’ll tell you more about this another time.
But don't fish with this gloomy bait
For this foolish opinion.
Come on, good Lorenzo. Take care for now.
I’ll finish my speech after dinner.

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

LORENZO.
Alright, we’ll leave you until dinner.
I must be like one of those silent wise guys,
Because Gratiano never lets me get a word in.

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

GRATIANO.
Well, keep me company for just two more years,
You won't even recognize your own voice.

ANTONIO.
Fare you well. I’ll grow a talker for this gear.

ANTONIO.
Take care. I’ll become more of a talker for this stuff.

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

GRATIANO.
Thanks, I appreciate it, because silence is only admirable
In a neat's tongue dried, and a girl not for sale.

[Exeunt Gratiano and Lorenzo.]

[Gratiano and Lorenzo exit.]

ANTONIO.
Is that anything now?

ANTONIO.
Is that a thing now?

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 a lot of nonsense, more than anyone else in all of Venice. His points are like two grains of wheat buried in two bushels of chaff: you’ll search all day to find them, and when you do, they aren't even worth the effort.

ANTONIO.
Well, tell me now what lady is the same
To whom you swore a secret pilgrimage,
That you today promis’d to tell me of?

ANTONIO.
Well, tell me now which lady it is
To whom you promised a secret visit,
That you said you would tell me about today?

BASSANIO.
’Tis not unknown to you, Antonio,
How much I have disabled mine estate
By something showing a more swelling port
Than my faint means would grant continuance.
Nor do I now make moan to be abridg’d
From such a noble rate, but my chief care
Is to come fairly off from the great debts
Wherein my time, something too prodigal,
Hath left me gag’d. To you, Antonio,
I owe the most in money and in love,
And from your love I have a warranty
To unburden all my plots and purposes
How to get clear of all the debts I owe.

BASSANIO.
You already know, Antonio,
How much I've messed up my finances
By trying to live a lifestyle
That my limited means can't support.
I’m not complaining about being cut off
From such a high status, but my main concern
Is figuring out how to get out of the big debts
That my somewhat reckless spending
Has left me stuck with. To you, Antonio,
I owe the most in money and in friendship,
And because of your support, I have a way
To unload all my plans and ideas
On how to clear all the debts I owe.

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

ANTONIO.
I beg you, good Bassanio, let me know;
And if you remain as you are,
In the eyes of honor, be assured
My money, my life, my utmost resources
Are all available for your needs.

BASSANIO.
In my school-days, when I had lost one shaft,
I shot his fellow of the self-same flight
The self-same way, with more advised watch
To find the other forth; and by adventuring both
I oft found both. I urge this childhood proof
Because what follows is pure innocence.
I owe you much, and, like a wilful youth,
That which I owe is lost. But if you please
To shoot another arrow that self way
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 in school, when I lost one arrow,
I shot its partner the same way,
With better focus to find the missing one;
And by trying to get both,
I often ended up with both. I bring this up from my childhood
Because what comes next is completely innocent.
I owe you a lot, and like a reckless kid,
What I owe is now gone. But if you’re willing
To shoot another arrow the same way
You shot the first one, I’m sure,
As I will keep my eye on the target, I’ll either find both,
Or bring your last shot back,
And gladly stay in debt for the first.

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

ANTONIO.
You know me well, and you’re just wasting time
With all this talk about my feelings;
And honestly, you’re doing me more harm
By questioning my deepest emotions
Than if you had taken everything I own.
So just tell me what I should do
That you know I can actually do,
And I’m ready for it. So, go ahead and speak.

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 undervalu’d
To Cato’s daughter, Brutus’ Portia.
Nor is the wide world ignorant of her worth,
For the four winds blow in from every coast
Renowned suitors, and her sunny locks
Hang on her temples like a golden fleece,
Which makes her seat of Belmont Colchos’ strond,
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.
In Belmont, there’s a wealthy lady,
She’s beautiful, and even more than that,
With amazing qualities. Sometimes I’ve received
Silent messages from her eyes:
Her name is Portia, who is just as valued
As Cato’s daughter, Brutus’ Portia.
The whole world knows her worth,
Because suitors come from every direction,
And her golden hair
Falls around her like a golden fleece,
Which makes Belmont like Colchis’ shore,
And many Jasons are coming to pursue her.
Oh my Antonio, if only I had the ways
To compete with one of them,
I feel like I’m destined for success
And I would surely be fortunate.

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 rack’d even to the uttermost,
To furnish thee to Belmont to fair Portia.
Go presently inquire, and so will I,
Where money is, and I no question make
To have it of my trust or for my sake.

ANTONIO.
You know that all my wealth is at sea;
I have neither money nor goods
To raise a quick sum, so go out
And see what my credit can do in Venice;
That will be pushed to the limit,
To get you to Belmont to the lovely Portia.
Go ask around right now, and I will too,
Where I can find money, and I have no doubt
That I can get it on my trust or for my sake.

[Exeunt.]

[Leave the stage.]

SCENE II. Belmont. A room in Portia’s house.

Enter Portia with her waiting-woman Nerissa.

Enter Portia with her maid Nerissa.

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

PORTIA.
Honestly, Nerissa, I’m so tired of this big world.

NERISSA.
You would be, sweet madam, if your miseries were in the same abundance as your good fortunes are. And yet, for aught I see, they are as sick that surfeit with too much as they that starve with nothing. It is no mean happiness, therefore, to be seated in the mean. Superfluity come sooner by white hairs, but competency lives longer.

NERISSA.
You would be, dear lady, if your troubles were as many as your good luck. Still, from what I can tell, those who have too much suffer just as much as those who have nothing. So, it's not a small blessing to be in the middle. Having too much can lead to gray hairs faster, but a comfortable amount lasts longer.

PORTIA.
Good sentences, and well pronounc’d.

PORTIA.
Good sentences, and well spoken.

NERISSA.
They would be better if well followed.

NERISSA.
They would be better if properly followed.

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 to 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 who I would nor refuse who I dislike, so is the will of a living daughter curb’d by the will of a dead father. Is it not hard, Nerissa, that I cannot choose one, nor refuse none?

PORTIA.
If doing was as easy as knowing what’s right to do, chapels would be churches, and poor people's homes would be palaces. It's a good person who follows their own advice; I can teach twenty what should be done easier than I can manage to be one of those twenty and follow my own teachings. The mind can create laws for the heart, but a hot temper jumps over a cold decree; such is the madness of youth, to leap over the advice of the wise. But this reasoning isn't the right way to help me find a husband. Oh, the word “choose”! I can’t choose whom I want or refuse whom I don’t like, as my living will is controlled by my dead father’s will. Isn’t it unfair, Nerissa, that I can’t choose one and can’t refuse any?

NERISSA.
Your father was ever virtuous, and holy men at their death have good inspirations. Therefore the lott’ry 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 you shall rightly love. But what warmth is there in your affection towards any of these princely suitors that are already come?

NERISSA.
Your father was always virtuous, and holy men often have good insights at the end of their lives. So, the lottery he created with these three chests of gold, silver, and lead, where whoever chooses one also chooses you, will surely be selected only by someone you truly love. But how do you feel about any of these noble suitors who have already arrived?

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

PORTIA.
Please list their names, and as you name them, I will describe them, and based on my descriptions, I will share my feelings towards each one.

NERISSA.
First, there is the Neapolitan prince.

NERISSA.
First, there's the Neapolitan prince.

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 play’d false with a smith.

PORTIA.
Yeah, that’s a real work of art, because all he does is talk about his horse, and he takes a lot of pride in the fact that he can shoe it himself. I’m really worried that his mother, my lady, might have cheated on someone with a blacksmith.

NERISSA.
Then is there the County Palatine.

NERISSA.
Then there's the Palatine County.

PORTIA.
He doth nothing but frown, as who should say “And 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 just frowns, as if saying “If you don’t want me, then choose.” He listens to funny stories but doesn’t smile. I worry he’ll turn into a gloomy philosopher when he’s older, being so full of rude sadness in his youth. I’d rather be married to a skull with a bone in its mouth than either of these guys. God save me from these two!

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

NERISSA.
What do you think about the French lord, Monsieur Le Bon?

PORTIA.
God made him, and therefore let him pass for a man. In truth, I know it is a sin to be a mocker, but he! why, he hath a horse 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-cap’ring. He will fence with his own shadow. If I should marry him, I should marry twenty husbands. If he would despise me, I would forgive him, for if he love me to madness, I shall never requite him.

PORTIA.
God created him, so let's call him a man. Honestly, I know it's wrong to mock, but come on! He has a horse that's better than the Neapolitan's, and he frowns more dramatically than the Count Palatine. He’s like every man wrapped up in none. If a songbird sings, he starts dancing immediately. He’ll fight with his own shadow. If I married him, I’d be marrying twenty husbands. If he were to look down on me, I'd forgive him because even if he loved me to madness, I could never return that love.

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

NERISSA.
So, what do you think of Falconbridge, the young baron from England?

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

PORTIA.
You know I don't say anything to him because he doesn't understand me, and I don't understand him either. He doesn't speak Latin, French, or Italian, and you'll come into the court and claim that I have a poor deal in English. He looks great on the outside, but unfortunately, who can talk to someone who doesn't communicate? How strange his outfit is! I think he bought his jacket in Italy, his pants in France, his hat in Germany, and his behavior everywhere.

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

NERISSA.
What do you think of the Scottish lord, his neighbor?

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

PORTIA.
He has a friendly nature, since he borrowed a box on the ears from the Englishman and promised to pay him back when he could. I believe the Frenchman guaranteed him and signed on for another.

NERISSA.
How like you the young German, the Duke of Saxony’s nephew?

NERISSA.
What do you think of the young German, the Duke of Saxony’s nephew?

PORTIA.
Very vilely in the morning when he is sober, and most vilely in the afternoon when he is drunk: when he is best, he is a little worse than a man, and when he is worst, he is little better than a beast. 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 sober, and even worse in the afternoon when he's drunk. At his best, he's slightly better than a man, and at his worst, he’s not much better than an animal. And I hope I can manage to get by without him after the worst things that have ever happened.

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 choose and picks the right casket, you should refuse to carry out your father’s wishes if you decide not to accept him.

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

PORTIA.
So, just in case the worst happens, please put a big glass of Rhenish wine on the other casket, because if there’s a devil inside and temptation outside, I know he’ll go for it. I’ll do whatever it takes, Nerissa, before I marry a sponge.

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, my lady, about any of these lords. They’ve told me their plans, which are really to go back to their homes and not bother you anymore, unless you might be persuaded in a way that isn’t related to your father’s arrangement with the caskets.

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.
If I live to be as old as Sibylla, I will die as pure as Diana, unless I’m married according to my father’s wishes. I'm happy that these suitors are so reasonable, because I like them all even when they’re not around. And I hope God gives them a good send-off.

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

NERISSA.
Do you not remember, lady, back in your father's time, a Venetian, a scholar and a soldier, who came here with the Marquis of Montferrat?

PORTIA.
Yes, yes, it was Bassanio, as I think, so was he call’d.

PORTIA.
Yes, yes, I believe it was Bassanio, that was his name.

NERISSA.
True, madam. He, of all the men that ever my foolish eyes look’d upon, was the best deserving a fair lady.

NERISSA.
It's true, ma'am. He, out of all the men my foolish eyes have ever seen, truly deserves a fair lady the most.

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

PORTIA.
I remember him well, and I know he's deserving of your praise.

Enter a Servingman.

Enter a Server.

How now! what news?

What’s the 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.

SERVINGMAN.
The four strangers are looking for you, madam, to say their goodbyes. And there's a messenger from a fifth, the Prince of Morocco, who has news that his master will be here tonight.

PORTIA.
If I could bid the fifth welcome with so good 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. Sirrah, go before. Whiles we shut the gate upon one wooer, another knocks at the door.

PORTIA.
If I could welcome the fifth with as much joy as I can say goodbye to the other four, I’d be happy to see him come. If he has the qualities of a saint but looks like a devil, I’d rather he confess my sins than marry me. Come on, Nerissa. You, go ahead. While we close the door on one suitor, another is knocking at the door.

[Exeunt.]

[Exit.]

SCENE III. Venice. A public place.

Enter Bassanio with Shylock the Jew.

Enter Bassanio with Shylock the Jew.

SHYLOCK.
Three thousand ducats, well.

Shylock.
Three thousand ducats, sure.

BASSANIO.
Ay, sir, for three months.

BASSANIO.
Yeah, sir, for three months.

SHYLOCK.
For three months, well.

SHYLOCK.
For three months, sure.

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

BASSANIO.
For that reason, as I mentioned, Antonio will be obligated.

SHYLOCK.
Antonio shall become bound, well.

SHYLOCK.
Antonio will be bound, okay.

BASSANIO.
May you stead me? Will you pleasure me? Shall I know your answer?

BASSANIO.
Can you help me? Will you do me a favor? Can I get your answer?

SHYLOCK.
Three thousand ducats for three months, and Antonio bound.

SHYLOCK.
Three thousand ducats for three months, and Antonio is guaranteed.

BASSANIO.
Your answer to that.

BASSANIO.
Your response to that.

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 any claims against that?

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. Three thousand ducats. I think I may take his bond.

SHYLOCK.
Oh, no, no, no, no: what I mean by saying he is a good man is to make you understand that he is capable. But his wealth is uncertain: he has a ship going to Tripolis, another to the Indies. I’ve also heard that on the Rialto, he has a third ship in Mexico, a fourth for England, and other investments he’s wasted abroad. But ships are just wooden boards, and sailors are just men; there are land rats and water rats, water thieves and land thieves—I mean pirates—and then there’s the danger of the seas, the winds, and the rocks. The man is, nonetheless, capable. Three thousand ducats. I think I might accept his bond.

BASSANIO.
Be assured you may.

BASSANIO.
You can be sure of that.

SHYLOCK.
I will be assured I may. And that I may be assured, I will bethink me. May I speak with Antonio?

SHYLOCK.
I need to be certain that I can. And to ensure that I can be certain, I will think it over. Can I talk to Antonio?

BASSANIO.
If it please you to dine with us.

BASSANIO.
If you'd like to join us for dinner.

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?

SHYLOCK.
Yes, to smell pork, to eat from the place your prophet, the Nazarite, drove the devil into. I will buy from you, sell to you, talk with you, walk with you, and so on; but I will not eat with you, drink with you, or pray with you. What's the news on the Rialto? Who is that coming here?

Enter Antonio.

Enter Antonio.

BASSANIO.
This is Signior Antonio.

BASSANIO.
This is Mr. Antonio.

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,
Which he calls interest. Cursed be my tribe
If I forgive him!

SHYLOCK.
[Aside.] Look at him, acting all friendly and fake!
I can't stand him because he's a Christian,
But even more because, in his naive way,
He lends money without charging interest, which drives
The rates down here in Venice.
If I can get the upper hand on him,
I will take my revenge for the old grudge I have against him.
He despises our sacred people, and he criticizes,
Right where merchants gather the most,
Me, my deals, and my hard-earned savings,
Which he calls interest. Curse my people
If I ever forgive him!

BASSANIO.
Shylock, do you hear?

BASSANIO.
Shylock, are you listening?

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 signior,
Your worship was the last man in our mouths.

SHYLOCK.
I'm thinking about my current finances,
And from what I remember,
I can't quickly come up with the total
Of three thousand ducats. So what?
Tubal, a rich Hebrew from my community,
Will help me out. But wait! How many months
Do you need? [To Antonio.] Hope you're doing well, good sir,
You were the last person we were talking about.

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 possess’d
How much ye would?

ANTONIO.
Shylock, even though I neither lend nor borrow
By taking or giving too much,
Still, to meet my friend’s urgent needs,
I’ll break tradition. [To Bassanio.] Does he know yet
How much you need?

SHYLOCK.
Ay, ay, three thousand ducats.

Sure, three thousand ducats.

ANTONIO.
And for three months.

ANTONIO.
And for three months.

SHYLOCK.
I had forgot, three months, you told me so.
Well then, your bond. And let me see, but hear you,
Methought you said you neither lend nor borrow
Upon advantage.

SHYLOCK.
I forgot, you told me that three months ago.
So, here’s your bond. And let me see, but hear me,
I thought you said you neither lend nor borrow
for profit.

ANTONIO.
I do never use it.

I don't use it.

SHYLOCK.
When Jacob graz’d 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 tended his uncle Laban’s sheep,—
This Jacob was a descendant of our holy Abram,
As his clever mother worked to help him,
The third in line; yes, he was the third.

ANTONIO.
And what of him? Did he take interest?

ANTONIO.
What about him? Did he show any interest?

SHYLOCK.
No, not take interest, not, as you would say,
Directly interest; mark what Jacob did.
When Laban and himself were compromis’d
That all the eanlings which were streak’d and pied
Should fall as Jacob’s hire, the ewes being rank
In end of autumn turned to the rams,
And when the work of generation was
Between these woolly breeders in the act,
The skilful shepherd pill’d 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-colour’d lambs, and those were Jacob’s.
This was a way to thrive, and he was blest;
And thrift is blessing if men steal it not.

SHYLOCK.
No, don’t take interest, not, as you’d put it,
Directly interest; pay attention to what Jacob did.
When Laban and he came to an agreement
That all the young ones that were spotted and striped
Should be Jacob’s payment, the ewes being ready
In late autumn to mate with the rams,
And while the act of reproduction was
Happening between these woolly breeders,
The clever shepherd peeled certain branches,
And as he was doing this natural act,
He placed them in front of the eager ewes,
Who then, once they were impregnated, gave birth
To spotted lambs, and those belonged to Jacob.
This was a way to prosper, and he was blessed;
And making a profit is a blessing if people don’t steal it.

ANTONIO.
This was a venture, sir, that Jacob serv’d for,
A thing not in his power to bring to pass,
But sway’d and fashion’d by the hand of heaven.
Was this inserted to make interest good?
Or is your gold and silver ewes and rams?

ANTONIO.
This was a business that Jacob worked for,
Something he couldn't accomplish on his own,
But shaped and influenced by the hand of fate.
Was this added to make the deal attractive?
Or are your gold and silver just sheep and rams?

SHYLOCK.
I cannot tell; I make it breed as fast.
But note me, signior.

SHYLOCK.
I can't say; I make it grow as quickly.
But listen to me, sir.

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.
O, what a goodly outside falsehood hath!

ANTONIO.
Listen to this, Bassanio,
The devil can use Scripture to support his aims.
A corrupt soul producing holy evidence
Is like a villain with a friendly face,
A nice-looking apple that's rotten on the inside.
Oh, how deceiving a pretty exterior can be!

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 good amount.
Three months from twelve, so let me check the rate.

ANTONIO.
Well, Shylock, shall we be beholding to you?

ANTONIO.
So, Shylock, should we be grateful to you?

SHYLOCK.
Signior 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 suff’rance is the badge of all our tribe.)
You call me misbeliever, cut-throat 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 whisp’ring humbleness,
Say this:
“Fair sir, you spet on me on Wednesday last;
You spurn’d me such a day; another time
You call’d me dog; and for these courtesies
I’ll lend you thus much moneys”?

SHYLOCK.
Mr. Antonio, many times you've criticized me
In the Rialto about my money and my interests.
Still, I’ve put up with it patiently,
(For endurance is the badge of our people.)
You call me a nonbeliever, a cutthroat dog,
And spit on my Jewish clothes,
All for using what is rightfully mine.
Well then, it seems you need my help now.
So you come to me and say,
“Shylock, we need money.” You say that:
You, who have spat on my beard,
And treated me like a dog right on your doorstep, and now you want money.
What should I say to you? Should I not ask,
“Does a dog have money? Is it possible
For a mutt to lend three thousand ducats?” Or
Should I bow low and, like a servant,
With held breath and whispering humility,
Say this:
“Dear sir, you spat on me last Wednesday;
You insulted me that day; another time
You called me a dog; and for these kindnesses
I’ll lend you this much money”?

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’m just as likely to call you that again,
To spit on you again, to kick you too.
If you’re going to lend this money, don’t lend it
As to a friend, because when has friendship ever
Created a way to profit off the worthless metal of a friend?
But lend it instead to your enemy,
Who if he defaults, you can more easily
Demand the penalty.

SHYLOCK.
Why, look you how you storm!
I would be friends with you, and have your love,
Forget the shames that you have stain’d 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.
Why are you so upset?
I want to be friends with you and earn your love,
Forget the shame you've brought upon me,
Help with your current needs, and I won’t charge you
Any interest on my money, and you won’t hear a word from me.
This is the kindness I’m offering.

BASSANIO.
This were kindness.

BASSANIO.
This would be kind.

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
Express’d 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 will show you this kindness.
Come with me to a notary, and have your
Single bond sealed there; and as part of a game,
If you don’t repay me by a certain day,
In a certain place, the amount specified in
The agreement, then the penalty will be
One equal pound of your fair flesh, to be cut off
And taken from whichever part of your body I choose.

ANTONIO.
Content, in faith, I’ll seal to such a bond,
And say there is much kindness in the Jew.

ANTONIO.
Sure, I’ll agree to that bond, and I’ll say there’s a lot of kindness in the Jew.

BASSANIO.
You shall not seal to such a bond for me,
I’ll rather dwell in my necessity.

BASSANIO.
You shouldn't agree to that bond for me,
I’d prefer to stick with my own struggles.

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, man, I won’t lose it.
In these two months, which is a month before
This bond is due, I expect to get back
Three times the amount of this bond.

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 favour, 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 Abram, look at what these Christians are,
Their own harsh actions make them suspicious
Of the thoughts of others. Please, tell me this,
If he breaks his promise, what do I gain
From collecting the penalty?
A pound of a man’s flesh, taken from a person,
Is not worth as much or as beneficial
As mutton, beef, or goat. I mean,
To win his favor, I offer this friendship.
If he accepts it, fine. If not, goodbye,
And for my kindness, please don’t wrong me.

ANTONIO.
Yes, Shylock, I will seal unto this bond.

ANTONIO.
Yes, Shylock, I will agree to this bond.

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’ll be with you.

SHYLOCK.
Then meet me right away at the notary’s,
Give him instructions for this fun bond,
And I will go and gather the ducats right away,
Check on my house left in the worrying care
Of a reckless fool, and I’ll be with you shortly.

ANTONIO.
Hie thee, gentle Jew.

ANTONIO.
Hey there, kind Jew.

[Exit Shylock.]

[Exit Shylock.]

This Hebrew will turn Christian; he grows kind.

This Hebrew will become Christian; he's becoming kinder.

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

BASSANIO.
I don't like nice words coming from a dishonest person.

ANTONIO.
Come on; in this there can be no dismay;
My ships come home a month before the day.

ANTONIO.
Let's go; there’s no reason to be upset;
My ships will return a month early.

[Exeunt.]

[Scene ends.]

ACT II

SCENE I. Belmont. A room in Portia’s house.

Flourish of cornets. Enter the Prince of Morocco, a tawny Moor all in white, and three or four followers accordingly, with Portia, Nerissa and their train.

Flourish of trumpets. Enter the Moroccan Prince, a dark-skinned man dressed in white, along with three or four followers, accompanied by Portia, Nerissa and their attendants.

PRINCE OF MOROCCO.
Mislike me not for my complexion,
The shadowed livery of the burnish’d sun,
To whom I am a neighbour, and near bred.
Bring me the fairest creature northward born,
Where Phœbus’ fire scarce thaws the icicles,
And let us make incision for your love
To prove whose blood is reddest, his or mine.
I tell thee, lady, this aspect of mine
Hath fear’d the valiant; by my love I swear
The best-regarded virgins of our clime
Have lov’d it too. I would not change this hue,
Except to steal your thoughts, my gentle queen.

PRINCE OF MOROCCO.
Don’t judge me by my skin color,
The shadowy tone of the polished sun,
To whom I am a neighbor, and closely related.
Bring me the fairest person from the North,
Where the sun barely melts the icicles,
And let’s make a cut for your love
To see whose blood is redder, his or mine.
I tell you, lady, this appearance of mine
Has intimidated the brave; I swear by my love
That the most admired young women from our land
Have loved it too. I wouldn’t change this color,
Unless it was to capture your thoughts, my gentle queen.

PORTIA.
In terms of choice I am not solely led
By nice direction of a maiden’s eyes;
Besides, the lott’ry of my destiny
Bars me the right of voluntary choosing.
But if my father had not scanted me
And hedg’d me by his wit to yield myself
His wife who wins me by that means I told you,
Yourself, renowned Prince, then stood as fair
As any comer I have look’d on yet
For my affection.

PORTIA.
When it comes to choice, I’m not just guided
By the pretty look of a girl’s eyes;
Besides, the fate I’ve been given
Keeps me from choosing freely.
But if my father hadn’t restricted me
And forced me to give myself up
To the man who wins me by that method I mentioned,
You, esteemed Prince, would have stood a good chance
As anyone I’ve seen so far
For my love.

PRINCE OF MOROCCO.
Even for that I thank you.
Therefore I pray you lead me to the caskets
To try my fortune. By this scimitar
That slew the Sophy and a Persian prince,
That won three fields of Sultan Solyman,
I would o’erstare the sternest eyes that look,
Outbrave the heart most daring on the earth,
Pluck the young sucking cubs from the she-bear,
Yea, mock the lion when he roars for prey,
To win thee, lady. But, alas the while!
If Hercules and Lichas play at dice
Which is the better man, the greater throw
May turn by fortune from the weaker hand:
So is Alcides beaten by his rage,
And so may I, blind Fortune leading me,
Miss that which one unworthier may attain,
And die with grieving.

PRINCE OF MOROCCO.
Even for that, I thank you.
So I ask you to take me to the caskets
To try my luck. By this sword
That killed the Sophy and a Persian prince,
That won three battles against Sultan Solyman,
I would stare down the fiercest eyes that look,
Outdo the most daring heart on earth,
Pull the young cubs from the she-bear,
Yes, mock the lion when he roars for prey,
To win you, lady. But, oh, sadly!
If Hercules and Lichas play dice
To see who’s the better man, the bigger throw
Can turn by chance from the weaker hand:
So Alcides may be defeated by his rage,
And I too, led by blind Fortune,
Might miss what someone less worthy may achieve,
And die from sorrow.

PORTIA.
You must take your chance,
And either not attempt to choose at all,
Or swear before you choose, if you choose wrong
Never to speak to lady afterward
In way of marriage. Therefore be advis’d.

PORTIA.
You have to take your shot,
And either not try to choose at all,
Or promise before you choose that if you pick wrong,
You’ll never speak to a lady again
About marriage. So think it over.

PRINCE OF MOROCCO.
Nor will not. Come, bring me unto my chance.

PRINCE OF MOROCCO.
No, I won’t. Come, take me to my opportunity.

PORTIA.
First, forward to the temple. After dinner
Your hazard shall be made.

PORTIA.
First, let's head to the temple. After dinner,
You will take the risk.

PRINCE OF MOROCCO.
Good fortune then,
To make me blest or cursed’st among men!

PRINCE OF MOROCCO.
Good luck then,
To make me either blessed or cursed among men!

[Cornets. Exeunt.]

[Cornets. They exit.]

SCENE II. Venice. A street.

Enter Launcelet Gobbo, the clown, alone.

Enter Launcelet Gobbo, the jester, alone.

LAUNCELET.
Certainly my conscience will serve me to run from this Jew my master. The fiend is at mine elbow and tempts me, saying to me “Gobbo, Launcelet Gobbo, good Launcelet” or “good Gobbo,” or “good Launcelet Gobbo, use your legs, take the start, run away.” My conscience says “No; take heed, honest Launcelet, take heed, honest Gobbo” or, as aforesaid, “honest Launcelet Gobbo, do not run, scorn running with thy heels.” Well, the most courageous fiend bids me pack. “Fia!” says the fiend, “away!” says the fiend. “For the heavens, rouse up a brave mind,” says the fiend, “and run.” Well, my conscience, hanging about the neck of my heart, says very wisely to me “My honest friend Launcelet, being an honest man’s son”—or rather an honest woman’s son, for indeed my father did something smack, something grow to, he had a kind of taste;—well, my conscience says “Launcelet, budge not.” “Budge,” says the fiend. “Budge not,” says my conscience. “Conscience,” say I, “you counsel well.” “Fiend,” say I, “you counsel well.” To be ruled by my conscience, I should stay with the Jew my master, who, (God bless the mark) is a kind of devil; and, to run away from the Jew, I should be ruled by the fiend, who (saving your reverence) is the devil himself. Certainly the Jew is the very devil incarnation, and, in my conscience, my conscience is but a kind of hard conscience, to offer to counsel me to stay with the Jew. The fiend gives the more friendly counsel. I will run, fiend, my heels are at your commandment, I will run.

LAUNCELET.
Definitely my conscience is pushing me to run away from my master, the Jew. The devil is right next to me, tempting me, saying, “Gobbo, Launcelet Gobbo, good Launcelet” or “good Gobbo,” or “good Launcelet Gobbo, use your legs, get a head start, run away.” My conscience says, “No; be careful, honest Launcelet, be careful, honest Gobbo,” or, as I said before, “honest Launcelet Gobbo, don’t run, don’t even think about running.” Well, the bravest devil is telling me to leave. “Fia!” says the devil, “go!” says the devil. “For heaven’s sake, gather your courage,” says the devil, “and run.” Well, my conscience, hanging around my heart, wisely tells me, “My honest friend Launcelet, being the son of an honest man”—or rather the son of an honest woman, because my father did have some questionable habits; he had a bit of a taste for it—well, my conscience says, “Launcelet, don’t budge.” “Budge,” says the devil. “Don’t budge,” says my conscience. “Conscience,” I say, “you give good advice.” “Devil,” I say, “you give good advice too.” If I were to follow my conscience, I should stay with the Jew, my master, who, (God help us) is kind of a devil; and if I run away from the Jew, I would be following the devil, who (with all due respect) is the devil itself. Truly, the Jew is the very embodiment of evil, and honestly, my conscience is just hard-hearted to suggest that I stay with the Jew. The devil gives the friendlier advice. I will run, devil, my feet are at your command, I will run.

Enter Old Gobbo with a basket.

Enter Old Gobbo with a basket.

GOBBO.
Master young man, you, I pray you; which is the way to Master Jew’s?

GOBBO.
Hey there, young man, can you please tell me how to get to Master Jew’s place?

LAUNCELET.
[Aside.] O heavens, this is my true-begotten father, who being more than sand-blind, high-gravel blind, knows me not. I will try confusions with him.

LAUNCELET.
[Aside.] Oh man, this is my real father, who's so blind he can't even see me. I’ll mess with him a bit.

GOBBO.
Master young gentleman, I pray you, which is the way to Master Jew’s?

GOBBO.
Hey, young man, could you please tell me the way to the Jew's place?

LAUNCELET.
Turn up on your right hand at the next turning, but at the next turning of all on your left; marry, at the very next turning, turn of no hand, but turn down indirectly to the Jew’s house.

LAUNCELET.
Take a right at the next corner, then at the following turn, take a left; actually, at the very next turn, don’t turn at all, but head down indirectly towards the Jew’s house.

GOBBO.
Be God’s sonties, ’twill be a hard way to hit. Can you tell me whether one Launcelet, that dwells with him, dwell with him or no?

GOBBO.
By God's soul, it's going to be a tough way to find out. Can you tell me if a guy named Launcelot, who lives with him, is actually living there or not?

LAUNCELET.
Talk you of young Master Launcelet? [Aside.] Mark me now, now will I raise the waters. Talk you of young Master Launcelet?

LAUNCELET.
Are you talking about young Master Launcelet? [Aside.] Just watch, I’m about to stir things up. Are you talking about young Master Launcelet?

GOBBO.
No master, sir, but a poor man’s son, his father, though I say’t, is an honest exceeding poor man, and, God be thanked, well to live.

GOBBO.
No master, sir, just a poor man's son. His father, although I say so, is an honest and very poor man, and, thank God, he's doing well.

LAUNCELET.
Well, let his father be what he will, we talk of young Master Launcelet.

LAUNCELET.
Well, no matter what his father is like, we’re talking about young Master Launcelet.

GOBBO.
Your worship’s friend, and Launcelet, sir.

GOBBO.
Your worship's friend, and Launcelet, sir.

LAUNCELET.
But I pray you, ergo, old man, ergo, I beseech you, talk you of young Master Launcelet?

LAUNCELET.
But please, old man, I beg you, can you tell me about young Master Launcelet?

GOBBO.
Of Launcelet, an’t please your mastership.

GOBBO.
About Launcelet, if it pleases you, sir.

LAUNCELET.
Ergo, Master Launcelet. Talk not of Master Launcelet, father, for the young gentleman, according to Fates and Destinies, and such odd sayings, the Sisters Three and such branches of learning, is indeed deceased, or, as you would say in plain terms, gone to heaven.

LAUNCELET.
So, Master Launcelet. Don't mention Master Launcelet, Dad, because the young man, according to fate and destiny, and all those strange sayings, the Three Sisters and that kind of stuff, is actually dead, or as you would say plainly, he's gone to heaven.

GOBBO.
Marry, God forbid! The boy was the very staff of my age, my very prop.

GOBBO.
Absolutely not! The boy was the main support of my life, my very foundation.

LAUNCELET.
[Aside.] Do I look like a cudgel or a hovel-post, a staff or a prop? Do you know me, father?

LAUNCELET.
[Aside.] Do I look like a stick or a run-down shack, a pole or a support? Do you recognize me, Dad?

GOBBO.
Alack the day! I know you not, young gentleman, but I pray you tell me, is my boy, God rest his soul, alive or dead?

GOBBO.
Oh no! I don’t know you, young man, but please tell me, is my son, may he rest in peace, alive or dead?

LAUNCELET.
Do you not know me, father?

LAUNCELET.
Don't you know me, Dad?

GOBBO.
Alack, sir, I am sand-blind, I know you not.

GOBBO.
Sorry, sir, I can’t see you well; I don’t recognize you.

LAUNCELET.
Nay, indeed, if you had your eyes, you might fail of the knowing me: it is a wise father that knows his own child. Well, old man, I will tell you news of your son. Give me your blessing, truth will come to light, murder cannot be hid long, a man’s son may, but in the end truth will out.

LAUNCELET.
Honestly, if you really looked, you might not recognize me: it’s a wise father who knows his own child. Well, old man, I have news about your son. Bless me, and the truth will come to light; murder can't be hidden forever, a man's son might be, but in the end, the truth will reveal itself.

GOBBO.
Pray you, sir, stand up, I am sure you are not Launcelet my boy.

GOBBO.
Please, sir, stand up; I'm sure you're not Launcelet, my boy.

LAUNCELET.
Pray you, let’s have no more fooling about it, but give me your blessing. I am Launcelet, your boy that was, your son that is, your child that shall be.

LAUNCELET.
Please, let’s stop joking around and just give me your blessing. I am Launcelet, your boy who was, your son who is, your child who will be.

GOBBO.
I cannot think you are my son.

GOBBO.
I can't believe you’re my son.

LAUNCELET.
I know not what I shall think of that; but I am Launcelet, the Jew’s man, and I am sure Margery your wife is my mother.

LAUNCELET.
I don't know what to make of that; but I'm Launcelet, the Jew’s servant, and I'm sure Margery, your wife, is my mother.

GOBBO.
Her name is Margery, indeed. I’ll be sworn if thou be Launcelet, thou art mine own flesh and blood. Lord worshipped might he be, what a beard hast thou got! Thou hast got more hair on thy chin than Dobbin my fill-horse has on his tail.

GOBBO.
Her name is Margery, for sure. I swear, if you’re Launcelet, you’re my own flesh and blood. God bless him, what a beard you have! You have more hair on your chin than my horse Dobbin has on his tail.

LAUNCELET.
It should seem, then, that Dobbin’s tail grows backward. I am sure he had more hair on his tail than I have on my face when I last saw him.

LAUNCELET.
It seems that Dobbin’s tail is getting longer. I’m pretty sure he had more hair on his tail than I have on my face the last time I saw him.

GOBBO.
Lord, how art thou changed! How dost thou and thy master agree? I have brought him a present. How ’gree you now?

GOBBO.
Wow, you've changed so much! How are you and your boss getting along? I've brought him a gift. How are things between you now?

LAUNCELET.
Well, well. But for mine own part, as I have set up my rest to run away, so I will not rest till I have run some ground. My master’s a very Jew. Give him a present! Give him a halter. I am famished in his service. You may tell every finger I have with my ribs. Father, I am glad you are come, give me your present to one Master Bassanio, who indeed gives rare new liveries. If I serve not him, I will run as far as God has any ground. O rare fortune, here comes the man! To him, father; for I am a Jew, if I serve the Jew any longer.

LAUNCELET.
Well, well. As for me, I've decided to run away, and I won't stop until I've made it happen. My master is such a cheapskate. Give him a gift! Give him a noose. I'm starving working for him. You can count every rib I have with my fingers. Dad, I’m so glad you’re here; give me your gift for Master Bassanio, who actually gives out nice new outfits. If I don’t serve him, I’ll run as far as anywhere in the world. Oh, what good luck, here comes the man! Go to him, Dad, because I’ll be a Jew if I work for the Jew any longer.

Enter Bassanio with Leonardo and a follower or two.

Enter Bassanio with Leonardo and a couple of followers.

BASSANIO.
You may do so, but let it be so hasted that supper be ready at the farthest by five of the clock. See these letters delivered, put the liveries to making, and desire Gratiano to come anon to my lodging.

BASSANIO.
You can do that, but make sure it’s done quickly enough so that supper is ready by five at the latest. Make sure these letters are delivered, get the outfits prepared, and ask Gratiano to come to my place soon.

[Exit a Servant.]

[Leave a Servant.]

LAUNCELET.
To him, father.

LAUNCELET.
To him, dad.

GOBBO.
God bless your worship!

GOBBO.
God bless you!

BASSANIO.
Gramercy, wouldst thou aught with me?

BASSANIO.
Thank you, do you need something from me?

GOBBO.
Here’s my son, sir, a poor boy.

GOBBO.
Here's my son, sir, a struggling boy.

LAUNCELET.
Not a poor boy, sir, but the rich Jew’s man, that would, sir, as my father shall specify.

LAUNCELET.
Not a poor kid, sir, but the rich Jew’s servant, who would, sir, as my father will explain.

GOBBO.
He hath a great infection, sir, as one would say, to serve.

GOBBO.
He's really eager to serve, sir, as people might say.

LAUNCELET.
Indeed the short and the long is, I serve the Jew, and have a desire, as my father shall specify.

LAUNCELET.
So, the bottom line is, I work for the Jew, and I have a wish that my father will explain.

GOBBO.
His master and he (saving your worship’s reverence) are scarce cater-cousins.

GOBBO.
He and his master (no offense to you) are barely related.

LAUNCELET.
To be brief, the very truth is that the Jew, having done me wrong, doth cause me, as my father, being I hope an old man, shall frutify unto you.

LAUNCELET.
To keep it short, the truth is that the Jew, having wronged me, makes me, like my father, hope that an old man will benefit you.

GOBBO.
I have here a dish of doves that I would bestow upon your worship, and my suit is—

GOBBO.
I have a dish of doves here that I want to give to you, and my request is—

LAUNCELET.
In very brief, the suit is impertinent to myself, as your worship shall know by this honest old man, and though I say it, though old man, yet poor man, my father.

LAUNCELET.
In short, the lawsuit doesn't really involve me, as you'll see from this honest old man. And even though I say it, this old man is still my poor father.

BASSANIO.
One speak for both. What would you?

BASSANIO.
Let's have one person speak for both of us. What do you want?

LAUNCELET.
Serve you, sir.

Launcelot.
At your service, sir.

GOBBO.
That is the very defect of the matter, sir.

GOBBO.
That's the problem, sir.

BASSANIO.
I know thee well; thou hast obtain’d thy suit.
Shylock thy master spoke with me this day,
And hath preferr’d thee, if it be preferment
To leave a rich Jew’s service to become
The follower of so poor a gentleman.

BASSANIO.
I know you well; you've won your case.
Shylock, your boss, talked to me today,
And suggested you, if it’s an honor
To leave a wealthy Jew’s service to be
The follower of such a poor man.

LAUNCELET.
The old proverb is very well parted between my master Shylock and you, sir: you have “the grace of God”, sir, and he hath “enough”.

LAUNCELET.
The old saying is perfectly split between my master Shylock and you, sir: you have “the grace of God,” sir, and he has “enough.”

BASSANIO.
Thou speak’st it well. Go, father, with thy son.
Take leave of thy old master, and inquire
My lodging out. [To a Servant.] Give him a livery
More guarded than his fellows’; see it done.

BASSANIO.
You say that well. Go on, father, with your son.
Say goodbye to your old master, and find out
Where I'm staying. [To a Servant.] Give him a uniform
That's more protective than the others'; make sure it's done.

LAUNCELET.
Father, in. I cannot get a service, no! I have ne’er a tongue in my head! [Looking on his palm.] Well, if any man in Italy have a fairer table which doth offer to swear upon a book, I shall have good fortune; go to, here’s a simple line of life. Here’s a small trifle of wives, alas, fifteen wives is nothing; eleven widows and nine maids is a simple coming-in for one man. And then to scape drowning thrice, and to be in peril of my life with the edge of a feather-bed; here are simple ’scapes. Well, if Fortune be a woman, she’s a good wench for this gear. Father, come; I’ll take my leave of the Jew in the twinkling.

LAUNCELET.
Dad, I can't get a job, no! I feel like I can't even speak! [Looking at his palm.] Well, if any guy in Italy has a better fortune, I’ll be lucky; here’s a simple glimpse of my life. Here’s just a little bit about wives—ugh, fifteen wives isn’t much; eleven widows and nine maids is a pretty low bar for one guy. And then to escape drowning three times, and to be in danger of my life thanks to a feather bed; these are some simple close calls. Well, if Fortune is a woman, she’s a good sport about this. Dad, come on; I’m off to say goodbye to the Jew in a flash.

[Exeunt Launcelet and Old Gobbo.]

[Exit Launcelet and Old Gobbo.]

BASSANIO.
I pray thee, good Leonardo, think on this.
These things being bought and orderly bestow’d,
Return in haste, for I do feast tonight
My best esteem’d acquaintance; hie thee, go.

BASSANIO.
Please, good Leonardo, consider this.
Once these things are bought and arranged,
Come back quickly, because I'm hosting a dinner tonight
for my closest friend; hurry up and go.

LEONARDO.
My best endeavours shall be done herein.

LEONARDO.
I will do my best here.

Enter Gratiano.

Enter Gratiano.

GRATIANO.
Where’s your master?

GRATIANO.
Where's your boss?

LEONARDO.
Yonder, sir, he walks.

LEONARDO.
There he goes, sir.

[Exit.]

[Leave.]

GRATIANO.
Signior Bassanio!

GRATIANO.
Sir Bassanio!

BASSANIO.
Gratiano!

Gratiano!

GRATIANO.
I have suit to you.

GRATIANO.
I have a suit for you.

BASSANIO.
You have obtain’d it.

BASSANIO.
You got it.

GRATIANO.
You must not deny me, I must go with you to Belmont.

GRATIANO.
You can't deny me, I have to go with you to Belmont.

BASSANIO.
Why, then you must. But hear thee, Gratiano,
Thou art too wild, too rude, and bold of voice,
Parts that become thee happily enough,
And in such eyes as ours appear not faults;
But where thou art not known, why there they show
Something too liberal. Pray thee, take pain
To allay with some cold drops of modesty
Thy skipping spirit, lest through thy wild behaviour
I be misconst’red in the place I go to,
And lose my hopes.

BASSANIO.
Well, then you have to. But listen, Gratiano,
You’re too wild, too loud, and too bold,
Those traits suit you well enough,
And in eyes like ours, they don’t seem like flaws;
But where you’re not known, they can come off
As a bit too much. Please, try to tone it down
With some restraint,
So your energetic nature doesn’t make me
Look bad where I’m going,
And ruin my chances.

GRATIANO.
Signior Bassanio, hear me.
If I do not put on a sober habit,
Talk with respect, and swear but now and then,
Wear prayer-books in my pocket, look demurely,
Nay more, while grace is saying, hood mine eyes
Thus with my hat, and sigh, and say “amen”;
Use all the observance of civility
Like one well studied in a sad ostent
To please his grandam, never trust me more.

GRATIANO.
Hey, Bassanio, listen to me.
If I don’t dress in a serious way,
Talk respectfully, and only swear occasionally,
Carry prayer books in my pocket and look shy,
And while grace is being said, cover my eyes
With my hat, sigh, and say “amen”;
If I don’t do all the polite stuff
Like someone who’s practiced in a somber show
Just to please their grandmother, then don’t trust me anymore.

BASSANIO.
Well, we shall see your bearing.

BASSANIO.
Okay, we'll see how you handle this.

GRATIANO.
Nay, but I bar tonight, you shall not gauge me
By what we do tonight.

GRATIANO.
No, I won’t let you judge me tonight
Based on what we do tonight.

BASSANIO.
No, that were pity.
I would entreat you rather to put on
Your boldest suit of mirth, for we have friends
That purpose merriment. But fare you well,
I have some business.

BASSANIO.
No, that would be a shame.
I would rather ask you to wear your happiest outfit, because we have friends
Who plan for a good time. But take care,
I have some things to take care of.

GRATIANO.
And I must to Lorenzo and the rest,
But we will visit you at supper-time.

GRATIANO.
And I have to go to Lorenzo and the others,
But we’ll stop by to see you at dinner time.

[Exeunt.]

[Exit.]

SCENE III. The same. A room in Shylock’s house.

Enter Jessica and Launcelet.

Enter Jessica and Launcelet.

JESSICA.
I am sorry thou wilt leave my father so.
Our house is hell, and thou, a merry devil,
Didst rob it of some taste of tediousness.
But fare thee well, there is a ducat for thee,
And, Launcelet, soon at supper shalt thou see
Lorenzo, who is thy new master’s guest.
Give him this letter, do it secretly.
And so farewell. I would not have my father
See me in talk with thee.

JESSICA.
I’m sorry you’re leaving my father like this.
Our home feels like hell, and you, a cheerful devil,
Made it a little less boring.
But goodbye, here’s a ducat for you,
And, Launcelot, you’ll see Lorenzo at dinner soon,
He’s your new master's guest.
Give him this letter, and please keep it secret.
So goodbye. I don't want my father
To see me talking to you.

LAUNCELET.
Adieu! tears exhibit my tongue, most beautiful pagan, most sweet Jew! If a Christian do not play the knave and get thee, I am much deceived. But, adieu! These foolish drops do something drown my manly spirit. Adieu!

LAUNCELET.
Goodbye! My tears betray my words, most beautiful pagan, most sweet Jew! If a Christian doesn't act like a fool and win you over, I’m greatly mistaken. But, goodbye! These silly tears are somewhat drowning my manly spirit. Goodbye!

JESSICA.
Farewell, good Launcelet.

JESSICA.
Goodbye, good Launcelet.

[Exit Launcelet.]

[Exit Launcelet.]

Alack, what heinous sin is it in me
To be ashamed to be my father’s child!
But though I am a daughter to his blood,
I am not to his manners. O Lorenzo,
If thou keep promise, I shall end this strife,
Become a Christian and thy loving wife.

Alas, what a terrible sin it is for me
To be ashamed to be my father’s child!
But even though I am biologically his daughter,
I do not share his ways. Oh Lorenzo,
If you keep your promise, I will end this conflict,
Become a Christian and your loving wife.

[Exit.]

[Leave.]

SCENE IV. The same. A street.

Enter Gratiano, Lorenzo, Salarino and Solanio.

Enter Gratiano, Lorenzo, Salarino, and Solanio.

LORENZO.
Nay, we will slink away in supper-time,
Disguise us at my lodging, and return
All in an hour.

LORENZO.
No, we’ll sneak away at dinner time,
Change our appearance at my place, and come back
All in an hour.

GRATIANO.
We have not made good preparation.

GRATIANO.
We didn't prepare well.

SALARINO.
We have not spoke us yet of torch-bearers.

SALARINO.
We haven't talked about the torchbearers yet.

SOLANIO.
’Tis vile, unless it may be quaintly order’d,
And better in my mind not undertook.

SOLANIO.
It's terrible, unless it can be done in an interesting way,
And honestly, I think it's better not to attempt it at all.

LORENZO.
’Tis now but four o’clock, we have two hours
To furnish us.

LORENZO.
It's now only four o'clock, we have two hours
To get ready.

Enter Launcelet with a letter.

Enter Launcelet with a message.

Friend Launcelet, what’s the news?

Hey Launcelet, what's up?

LAUNCELET.
And it shall please you to break up this, it shall seem to signify.

LAUNCELET.
And if you would like to break this up, it will seem to mean.

LORENZO.
I know the hand, in faith ’tis a fair hand,
And whiter than the paper it writ on
Is the fair hand that writ.

LORENZO.
I recognize that hand; honestly, it’s a lovely hand,
And whiter than the paper it wrote on
Is the beautiful hand that wrote it.

GRATIANO.
Love news, in faith.

GRATIANO.
Love news, for real.

LAUNCELET.
By your leave, sir.

Lancelot.
If you don’t mind, sir.

LORENZO.
Whither goest thou?

LORENZO.
Where are you going?

LAUNCELET.
Marry, sir, to bid my old master the Jew to sup tonight with my new master the Christian.

LAUNCELET.
Sure, sir, to invite my old master the Jew to dinner tonight with my new master the Christian.

LORENZO.
Hold here, take this. Tell gentle Jessica
I will not fail her, speak it privately.
Go, gentlemen,

LORENZO.
Hold on, take this. Tell sweet Jessica
I won't let her down, say it quietly.
Go on, gentlemen,

[Exit Launcelet.]

[Exit Launcelet.]

Will you prepare you for this masque tonight?
I am provided of a torch-bearer.

Will you get ready for this masquerade tonight?
I have arranged for a torchbearer.

SALARINO.
Ay, marry, I’ll be gone about it straight.

SALARINO.
Yeah, sure, I'll take care of it right away.

SOLANIO.
And so will I.

SOLANIO.
Me too.

LORENZO.
Meet me and Gratiano
At Gratiano’s lodging some hour hence.

LORENZO.
Meet me and Gratiano
At Gratiano’s place in about an hour.

SALARINO.
’Tis good we do so.

SALARINO.
It’s good we do this.

[Exeunt Salarino and Solanio.]

[Exit Salarino and Solanio.]

GRATIANO.
Was not that letter from fair Jessica?

GRATIANO.
Wasn't that letter from beautiful Jessica?

LORENZO.
I must needs tell thee all. She hath directed
How I shall take her from her father’s house,
What gold and jewels she is furnish’d with,
What page’s suit she hath in readiness.
If e’er the Jew her father come to heaven,
It will be for his gentle daughter’s sake;
And never dare misfortune cross her foot,
Unless she do it under this excuse,
That she is issue to a faithless Jew.
Come, go with me, peruse this as thou goest;
Fair Jessica shall be my torch-bearer.

LORENZO.
I have to tell you everything. She has arranged
How I'll get her out of her father’s house,
What gold and jewels she has ready,
What outfit she has prepared.
If the Jew, her father, ever makes it to heaven,
It'll be for the sake of his kind daughter;
And may misfortune never touch her,
Unless she does it under the excuse,
That she is the daughter of a faithless Jew.
Come, go with me, check this out as you walk;
Fair Jessica will be my torchbearer.

[Exeunt.]

[Leave the stage.]

SCENE V. The same. Before Shylock’s house.

Enter Shylock the Jew and Launcelet his man that was the clown.

Enter Shylock the Jew and Launcelet, his clownish servant.

SHYLOCK.
Well, thou shalt see, thy eyes shall be thy judge,
The difference of old Shylock and Bassanio.—
What, Jessica!—Thou shalt not gormandize
As thou hast done with me;—What, Jessica!—
And sleep, and snore, and rend apparel out.
Why, Jessica, I say!

SHYLOCK.
Well, you'll see, your eyes will be your judge,
The difference between old Shylock and Bassanio.—
What, Jessica!—You won't indulge yourself
As you have with me;—What, Jessica!—
And sleep, and snore, and tear your clothes.
Why, Jessica, I say!

LAUNCELET.
Why, Jessica!

LAUNCELET.
Wow, Jessica!

SHYLOCK.
Who bids thee call? I do not bid thee call.

SHYLOCK.
Who told you to call? I didn’t tell you to call.

LAUNCELET.
Your worship was wont to tell me I could do nothing without bidding.

LAUNCELET.
You used to tell me that I couldn't do anything without permission.

Enter Jessica.

Enter Jessica.

JESSICA.
Call you? What is your will?

JESSICA.
Call you? What do you want?

SHYLOCK.
I am bid forth to supper, Jessica.
There are my keys. But wherefore should I go?
I am not bid for love, they flatter me.
But yet I’ll go in hate, to feed upon
The prodigal Christian. Jessica, my girl,
Look to my house. I am right loath to go;
There is some ill a-brewing towards my rest,
For I did dream of money-bags tonight.

SHYLOCK.
I’ve been invited to dinner, Jessica.
Here are my keys. But why should I go?
I’m not invited for love; they’re just flattering me.
But still, I’ll go out of spite, to take advantage of
The wasteful Christian. Jessica, my girl,
Keep an eye on my house. I really don't want to go;
Something bad is brewing for my peace,
Because I dreamt of money bags last night.

LAUNCELET.
I beseech you, sir, go. My young master doth expect your reproach.

LAUNCELET.
I urge you, sir, please go. My young master is waiting for your criticism.

SHYLOCK.
So do I his.

SHYLOCK.
Same here.

LAUNCELET.
And they have conspired together. I will not say you shall see a masque, but if you do, then it was not for nothing that my nose fell a-bleeding on Black Monday last at six o’clock i’ th’ morning, falling out that year on Ash-Wednesday was four year in th’ afternoon.

LAUNCELET.
And they’ve teamed up. I won’t say you’ll see a show, but if you do, it wasn’t by chance that I started bleeding from my nose on Black Monday last at six o'clock in the morning, which happened to fall on Ash Wednesday that year at four in the afternoon.

SHYLOCK.
What, are there masques? Hear you me, Jessica,
Lock up my doors, and when you hear the drum
And the vile squealing of the wry-neck’d fife,
Clamber not you up to the casements then,
Nor thrust your head into the public street
To gaze on Christian fools with varnish’d faces,
But stop my house’s ears, I mean my casements.
Let not the sound of shallow fopp’ry enter
My sober house. By Jacob’s staff I swear
I have no mind of feasting forth tonight.
But I will go. Go you before me, sirrah.
Say I will come.

SHYLOCK.
What, are there parties? Listen to me, Jessica,
Lock my doors, and when you hear the drum
And the awful squeaking of the twisted flute,
Don’t climb up to the windows then,
Or stick your head out into the street
To look at those Christian fools with their made-up faces,
But block my house’s ears, I mean my windows.
Don’t let the sound of shallow nonsense come into
My serious house. By Jacob’s staff I swear
I don’t plan on going out to party tonight.
But I will go. You go ahead of me, servant.
Say I will come.

LAUNCELET.
I will go before, sir.
Mistress, look out at window for all this.
    There will come a Christian by
    Will be worth a Jewess’ eye.

LAUNCELET.
I’ll go ahead, sir.
Mistress, keep an eye out the window for all this.
    A Christian will pass by
    Who will be worth a Jewish woman's attention.

[Exit Launcelet.]

[Exit Launcelet.]

SHYLOCK.
What says that fool of Hagar’s offspring, ha?

SHYLOCK.
What is that fool of Hagar's descendants saying, huh?

JESSICA.
His words were “Farewell, mistress,” nothing else.

JESSICA.
He simply said, “Goodbye, mistress,” nothing more.

SHYLOCK.
The patch is kind enough, but a huge feeder,
Snail-slow in profit, and he sleeps by day
More than the wild-cat. Drones hive not with me,
Therefore I part with him, and part with him
To one that I would have him help to waste
His borrowed purse. Well, Jessica, go in.
Perhaps I will return immediately:
Do as I bid you, shut doors after you,
“Fast bind, fast find.”
A proverb never stale in thrifty mind.

SHYLOCK.
The patch is generous, but he takes a lot,
Slow to make a profit, and he sleeps during the day
More than a wildcat. I don’t deal with slackers,
So I’m letting him go, and letting him go
To someone I want to help waste
His borrowed money. Well, Jessica, go inside.
Maybe I’ll be back soon:
Do as I tell you, shut the doors after you,
“Fast bind, fast find.”
A saying that never gets old in a thrifty mind.

[Exit.]

[Leave.]

JESSICA.
Farewell, and if my fortune be not crost,
I have a father, you a daughter, lost.

JESSICA.
Goodbye, and if my luck doesn’t change,
I have a father, and you have a daughter, both lost.

[Exit.]

[Leave.]

SCENE VI. The same.

Enter the masquers, Gratiano and Salarino.

Enter the performers, Gratiano and Salarino.

GRATIANO.
This is the penthouse under which Lorenzo
Desired us to make stand.

GRATIANO.
This is the penthouse where Lorenzo
Wanted us to stand.

SALARINO.
His hour is almost past.

SALARINO.
His time is almost up.

GRATIANO.
And it is marvel he out-dwells his hour,
For lovers ever run before the clock.

GRATIANO.
And it’s amazing he’s late,
Because lovers always hurry ahead of time.

SALARINO.
O ten times faster Venus’ pigeons fly
To seal love’s bonds new-made than they are wont
To keep obliged faith unforfeited!

SALARINO.
Oh, ten times faster do Venus' doves fly
To seal new love bonds than they usually do
To maintain promised faith unbroken!

GRATIANO.
That ever holds: who riseth from a feast
With that keen appetite that he sits down?
Where is the horse that doth untread again
His tedious measures with the unbated fire
That he did pace them first? All things that are,
Are with more spirit chased than enjoy’d.
How like a younger or a prodigal
The scarfed bark puts from her native bay,
Hugg’d and embraced by the strumpet wind!
How like the prodigal doth she return
With over-weather’d ribs and ragged sails,
Lean, rent, and beggar’d by the strumpet wind!

GRATIANO.
Whoever really feels the same way after a feast
As they did when they sat down with a sharp appetite?
Where's the horse that can retrace its steps
With the same energy it had when it first ran? All things that exist,
Are pursued with more zeal than they are enjoyed.
How much like a young fool
The flashy ship leaves her home harbor,
Hugged and embraced by the seductive wind!
How much like a spendthrift it returns
With weathered ribs and torn sails,
Thin, tattered, and impoverished by the seductive wind!

Enter Lorenzo.

Enter Lorenzo.

SALARINO.
Here comes Lorenzo, more of this hereafter.

SALARINO.
Here comes Lorenzo, we'll talk more about this later.

LORENZO.
Sweet friends, your patience for my long abode.
Not I but my affairs have made you wait.
When you shall please to play the thieves for wives,
I’ll watch as long for you then. Approach.
Here dwells my father Jew. Ho! who’s within?

LORENZO.
Hey friends, thanks for being so patient while I’ve been away.
It’s not me but my business that’s made you wait.
Whenever you’re ready to go after wives like thieves,
I’ll keep an eye out for you then. Come closer.
This is where my father the Jew lives. Hey! Who’s in there?

Enter Jessica above, in boy’s clothes.

Enter Jessica above, in boys' clothes.

JESSICA.
Who are you? Tell me, for more certainty,
Albeit I’ll swear that I do know your tongue.

JESSICA.
Who are you? Please tell me, so I can be sure,
Even though I swear I recognize your voice.

LORENZO.
Lorenzo, and thy love.

Lorenzo, and your love.

JESSICA.
Lorenzo certain, and my love indeed,
For who love I so much? And now who knows
But you, Lorenzo, whether I am yours?

JESSICA.
Lorenzo is sure, and my love is real,
For who do I love so much? And now who knows
But you, Lorenzo, if I am yours?

LORENZO.
Heaven and thy thoughts are witness that thou art.

LORENZO.
Heaven and your thoughts are proof that you exist.

JESSICA.
Here, catch this casket; it is worth the pains.
I am glad ’tis night, you do not look on me,
For I am much asham’d of my exchange.
But love is blind, and lovers cannot see
The pretty follies that themselves commit,
For if they could, Cupid himself would blush
To see me thus transformed to a boy.

JESSICA.
Here, take this casket; it’s worth the trouble.
I’m glad it’s night and you can’t see me,
Because I’m really embarrassed about what I’ve done.
But love is blind, and lovers can’t see
The silly mistakes they make themselves,
Because if they could, even Cupid would blush
To see me turned into a boy like this.

LORENZO.
Descend, for you must be my torch-bearer.

LORENZO.
Come down, because you need to be my light.

JESSICA.
What! must I hold a candle to my shames?
They in themselves, good sooth, are too too light.
Why, ’tis an office of discovery, love,
And I should be obscur’d.

JESSICA.
What! Do I really have to shine a light on my shame?
Honestly, it’s not that heavy.
Well, it’s a job of revealing things, love,
And I should stay hidden.

LORENZO.
So are you, sweet,
Even in the lovely garnish of a boy.
But come at once,
For the close night doth play the runaway,
And we are stay’d for at Bassanio’s feast.

LORENZO.
So are you, sweetheart,
Even with the charming look of a boy.
But come quickly,
Because the night is slipping away,
And we’re expected at Bassanio’s party.

JESSICA.
I will make fast the doors, and gild myself
With some moe ducats, and be with you straight.

JESSICA.
I'll secure the doors and dress myself up
With some more coins, and I'll join you right away.

[Exit above.]

[Exit upstairs.]

GRATIANO.
Now, by my hood, a gentle, and no Jew.

GRATIANO.
Now, by my hoodie, a kind person, and definitely not a Jew.

LORENZO.
Beshrew me but I love her heartily,
For she is wise, if I can judge of her,
And fair she is, if that mine eyes be true,
And true she is, as she hath prov’d herself.
And therefore, like herself, wise, fair, and true,
Shall she be placed in my constant soul.

LORENZO.
I swear I love her deeply,
Because she’s smart, if I’m judging right,
And she’s beautiful, if my eyes don’t lie,
And she’s genuine, as she’s shown herself to be.
So, just like she is—smart, beautiful, and genuine—
She will be forever held in my heart.

Enter Jessica.

Enter Jessica.

What, art thou come? On, gentlemen, away!
Our masquing mates by this time for us stay.

What, you arrived? Come on, gentlemen, let's go!
Our party friends are waiting for us by now.

[Exit with Jessica and Salarino.]

[Leave with Jessica and Salarino.]

Enter Antonio.

Enter Antonio.

ANTONIO.
Who’s there?

ANTONIO.
Who's there?

GRATIANO.
Signior Antonio!

GRATIANO.
Sir Antonio!

ANTONIO.
Fie, fie, Gratiano! where are all the rest?
’Tis nine o’clock, our friends all stay for you.
No masque tonight, the wind is come about;
Bassanio presently will go aboard.
I have sent twenty out to seek for you.

ANTONIO.
Come on, Gratiano! Where is everyone else?
It’s nine o’clock; our friends are all waiting for you.
No masquerade tonight; the wind has changed;
Bassanio will be leaving soon.
I’ve sent twenty people out to look for you.

GRATIANO.
I am glad on’t. I desire no more delight
Than to be under sail and gone tonight.

GRATIANO.
I’m really glad about that. I want nothing more than to set sail and leave tonight.

[Exeunt.]

[Exit.]

SCENE VII. Belmont. A room in Portia’s house.

Flourish of cornets. Enter Portia with the Prince of Morocco and both their trains.

Flourish of cornets. Enter Portia with the Moroccan Prince and both their entourages.

PORTIA.
Go, draw aside the curtains and discover
The several caskets to this noble prince.
Now make your choice.

PORTIA.
Go, pull back the curtains and reveal
The different caskets for this noble prince.
Now, make your choice.

PRINCE OF 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?

PRINCE OF MOROCCO.
The first, made of gold, has this inscription:
“Who chooses me will gain what many men desire.”
The second, made of silver, carries this promise:
“Who chooses me will get what he deserves.”
The third, dull lead, has a blunt warning:
“Who chooses me must risk everything he has.”
How will I know if I choose 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 has my picture, prince.
If you choose that one, then I am yours too.

PRINCE OF MOROCCO.
Some god direct my judgment! Let me see.
I will survey the 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?
“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 be’st 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 stray’d no farther, but chose here?
Let’s see once more this saying grav’d 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 throughfares now
For princes to come view fair Portia.
The watery kingdom, whose ambitious head
Spets 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 immur’d
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 insculp’d upon;
But here an angel in a golden bed
Lies all within. Deliver me the key.
Here do I choose, and thrive I as I may.

PRINCE OF MOROCCO.
Some god, guide my judgment! Let me see.
I’ll look at the inscriptions again.
What does this lead casket say?
“Who chooses me must give and risk everything he has.”
Must give, for what? For lead? Risk for lead!
This casket is threatening; men who risk everything
Do it with the hope of good rewards:
A golden mind doesn’t settle for worthless things,
So I’ll neither give nor risk anything for lead.
What does the silver with its pure hue say?
“Who chooses me shall get as much as he deserves.”
As much as he deserves! Hold on, Morocco,
And weigh your worth carefully.
If you’re judged by your estimation,
You do deserve enough, but enough
May not be enough for the lady.
And yet to be afraid of my own worth
Would be a weak way to disable myself.
As much as I deserve! Well, that’s the lady:
I do deserve her by birth, and in wealth,
In charms, and in qualities of upbringing;
But more than these, I deserve her in love.
What if I go no further, but choose here?
Let’s read this saying engraved in gold again:
“Who chooses me shall gain what many men desire.”
Well, that’s the lady; the whole world desires her.
From the four corners of the earth they come
To kiss this shrine, this living saint.
The Hyrcanian deserts and the vast wilds
Of wide Arabia are now highways
For princes to come see fair Portia.
The watery kingdom, whose ambitious head
Spits in the face of heaven, is no barrier
To stop foreign spirits; they come
As if crossing a stream to see fair Portia.
One of these three contains her heavenly image.
Is it likely that the lead contains her? That would be damnation
To think such a lowly thought. It would be too gross
To wrap her in a shroud in an obscure grave.
Or should I think she’s trapped in silver,
Being ten times undervalued compared to tested gold?
Oh, sinful thought! Never has such a rich gem
Been set in anything worse than gold. They have in England
A coin that bears the image of an angel
Stamped in gold; but that’s engraved on the surface;
But here an angel lies all within a golden bed.
Give me the key.
Here do I choose, and I will succeed as I can.

PORTIA.
There, take it, prince, and if my form lie there,
Then I am yours.

PORTIA.
Here, take it, prince, and if my body is there,
Then I am yours.

[He unlocks the golden casket.]

He opens the gold chest.

PRINCE OF MOROCCO.
O hell! what have we here?
A carrion Death, within whose empty eye
There is a written scroll. I’ll read the writing.

PRINCE OF MOROCCO.
Oh no! What do we have here?
A deathly corpse, in whose vacant eye
There’s a written scroll. I’ll read the message.

     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 infold.
     Had you been as wise as bold,
     Young in limbs, in judgment old,
     Your answer had not been inscroll’d,
     Fare you well, your suit is cold.

Not everything that shines is gold,
     You've often heard that before.
     Many a man has sold his soul
     Just by looking good on the outside.
     Decorated coffins hold only worms.
     If you had been as wise as you are brave,
     Young in body, but old in wisdom,
     Your response wouldn’t have been written down,
     Goodbye, your hopes are fading.

   Cold indeed and labour lost,
   Then farewell heat, and welcome frost.
Portia, adieu! I have too griev’d a heart
To take a tedious leave. Thus losers part.

Cold indeed and work wasted,
   Then goodbye warmth, and hello frost.
Portia, farewell! My heart is too heavy
To say a long goodbye. This is how losers separate.

[Exit with his train. Flourish of cornets.]

[Exit with his group. Sound of trumpets.]

PORTIA.
A gentle riddance. Draw the curtains, go.
Let all of his complexion choose me so.

PORTIA.
A kind farewell. Close the curtains, and leave.
Let everyone like him choose me that way.

[Exeunt.]

[Leave the stage.]

SCENE VIII. Venice. A street.

Enter Salarino and Solanio.

Enter Salarino and Solanio.

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.
Well, I saw Bassanio setting off;
Gratiano went with him;
And I'm pretty sure Lorenzo is not on their ship.

SOLANIO.
The villain Jew with outcries rais’d the Duke,
Who went with him to search Bassanio’s ship.

SOLANIO.
The villainous Jew raised a commotion that got the Duke involved,
Who then went with him to search Bassanio’s ship.

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 arrived too late, the ship had already set sail;
But there the Duke was made aware
That Lorenzo and his romantic Jessica
Were seen together in a gondola.
Additionally, Antonio confirmed to the Duke
That they were not with Bassanio on his ship.

SOLANIO.
I never heard a passion so confus’d,
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 sealed bag, two sealed 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 a passion so confused,
So strange, outrageous, and so unpredictable
As what that Jew was shouting in the streets.
“My daughter! Oh my ducats! Oh my daughter!
Gone 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 and the ducats on her!”

SALARINO.
Why, all the boys in Venice follow him,
Crying, his stones, his daughter, and his ducats.

SALARINO.
Why, all the kids in Venice follow him,
Shouting, his stones, his daughter, and his ducats.

SOLANIO.
Let good Antonio look he keep his day
Or he shall pay for this.

SOLANIO.
Let good Antonio make sure he keeps his promise
Or he will pay for this.

SALARINO.
Marry, well rememb’red.
I reason’d 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 wish’d in silence that it were not his.

SALARINO.
Well remembered.
I talked to a Frenchman yesterday,
Who told me that in the narrow seas that separate
The French and English, a ship from our country sank,
Loaded with valuable cargo.
I thought of Antonio when he mentioned it,
And silently wished it wasn’t his.

SOLANIO.
You were best to tell Antonio what you hear,
Yet do not suddenly, for it may grieve him.

SOLANIO.
You should probably tell Antonio what you heard,
But don't do it too suddenly, as it might upset him.

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 isn’t a kinder man on earth.
I saw Bassanio and Antonio say goodbye.
Bassanio told him he would hurry back,
To which Antonio replied, “Don’t rush,
Don’t be careless with business for my sake, Bassanio,
But take your time to let everything unfold,
And about the Jew’s bond he has with me,
Don’t let it interfere with your feelings:
Be happy, and focus your mind
On romance and the beautiful gestures of love
That will suit you well there.”
And at that moment, with tears in his eyes,
He turned away, reached behind him,
And with a heartfelt grip,
He shook Bassanio’s hand, and then they parted.

SOLANIO.
I think he only loves the world for him.
I pray thee, let us go and find him out
And quicken his embraced heaviness
With some delight or other.

SOLANIO.
I think he only cares about the world because of him.
Please, let’s go and find him
And lift his heavy mood
With some kind of fun or something.

SALARINO.
Do we so.

Sure, we do.

[Exeunt.]

[Exit.]

SCENE IX. Belmont. A room in Portia’s house.

Enter Nerissa and a Servitor.

Enter Nerissa and a Servitor.

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, please draw the curtain straight.
The Prince of Aragon has taken his oath,
And is coming for his choice right now.

Flourish of cornets. Enter the Prince of Arragon, his train, and Portia.

Flourish of trumpets. Enter the Prince of Aragon, his entourage, and Portia.

PORTIA.
Behold, there stand the caskets, noble Prince,
If you choose that wherein I am contain’d,
Straight shall our nuptial rites be solemniz’d.
But if you fail, without more speech, my lord,
You must be gone from hence immediately.

PORTIA.
Look, there are the caskets, noble Prince,
If you choose the one that holds me,
We’ll get married right away.
But if you fail, without another word, my lord,
You must leave here immediately.

ARRAGON.
I am enjoin’d by oath to observe three things:
First, never to unfold to anyone
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’m bound by an oath to follow three rules:
First, I can never reveal which casket I chose; next, if I choose the wrong casket, I will never court a woman for marriage;
Lastly,
If I fail in my choice, I must leave you right away and be gone.

PORTIA.
To these injunctions everyone doth swear
That comes to hazard for my worthless self.

PORTIA.
Everyone who comes to risk their life for me swears to these orders.

ARRAGON.
And so have I address’d 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.”
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 honourable
Without the stamp of merit? Let none presume
To wear an undeserved dignity.
O that estates, degrees, and offices
Were not deriv’d corruptly, and that clear honour
Were purchas’d 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 honour? And how much honour
Pick’d from the chaff and ruin of the times,
To be new varnish’d? 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.

ARRAGON.
And so I've prepared myself. Fortune is now
To my heart’s desire! Gold, silver, and worthless lead.
“Who chooses me must give and risk everything he has.”
You’ll appear more appealing before I give or risk anything.
What does the golden chest say? Ha! let me see:
“Who chooses me will gain what many men desire.”
What many men desire! That “many” could mean
The foolish crowd, who choose based on appearances,
Not knowing more than the eager eye can teach,
Which doesn't look beneath the surface, but like the martlet
Builds in the weather on the outer wall,
Even in the path and chance of misfortune.
I will not choose what many men desire,
Because I don't want to go along with the common crowd
And rank myself with the barbarous masses.
Then to you, oh silver treasure chest,
Tell me again what title you bear.
“Who chooses me will get what he deserves.”
And that’s true; for who would try
To fool fortune and be honorable
Without the mark of merit? Let no one presume
To wear an unearned dignity.
Oh, if only positions, titles, and offices
Weren’t obtained corruptly, and that true honor
Could be gained by the merit of the person!
How many would then cover those who stand bare?
How many would lead who are currently led?
How much lowly peasantry would then be removed
From the true lineage of honor? And how much honor
Would be picked from the worthless and broken times,
Only to be made to look new? Well, back to my choice.
“Who chooses me will get what he deserves.”
I will assume merit. Give me a key for this,
And instantly unlock my fortunes here.

[He opens the silver casket.]

He opens the silver box.

PORTIA.
Too long a pause for that which you find there.

PORTIA.
You've taken too long to react to what you see there.

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? The picture of a blinking idiot
Giving me a schedule! I’ll read it.
How much you differ from Portia!
How much you differ from my hopes and what I deserve!
“Whoever chooses me will get what they deserve.”
Did I really deserve no more than a fool’s head?
Is that my prize? Are my deserts no better?

PORTIA.
To offend and judge are distinct offices,
And of opposed natures.

PORTIA.
To offend and judge are completely different roles,
And they have opposing natures.

ARRAGON.
What is here?

ARRAGON.
What's this?

     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, I wis,
     Silver’d 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.

The fire has tested this seven times;
     Seven times proven that the judgment
     Has never made a wrong choice.
     Some people enjoy fleeting moments;
     They only have a shadow's happiness.
     There are fools out there, I know,
     Glamored over, and so was this.
     Choose any wife you want to take to bed,
     I will always be your leader:
     So go on; you’re all set.

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.

Still more of a fool I’ll look
By the time I hang around here.
With one fool’s head, I came to court,
But I’m leaving with two.
Sweet, goodbye! I’ll keep my promise,
Patiently to endure my anger.

[Exit Arragon with his train.]

[Exit Arragon with his group.]

PORTIA.
Thus hath the candle sing’d the moth.
O, these deliberate fools! When they do choose,
They have the wisdom by their wit to lose.

PORTIA.
So the candle has burned the moth.
Oh, these slow-witted fools! When they do decide,
They have the smarts to lose it all by their cleverness.

NERISSA.
The ancient saying is no heresy:
Hanging and wiving goes by destiny.

NERISSA.
The old saying is true:
Getting hanged and getting married are both determined by fate.

PORTIA.
Come, draw the curtain, Nerissa.

PORTIA.
Come, close the curtain, Nerissa.

Enter a Messenger.

Enter a Messenger.

MESSENGER.
Where is my lady?

MESSENGER.
Where's my lady?

PORTIA.
Here. What would my lord?

PORTIA.
Here. What do you need?

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 fore-spurrer comes before his lord.

MESSENGER.
Madam, there’s a young Venetian waiting at your gate,
He’s here to announce the arrival of his master,
Who sends his warm greetings;
Along with compliments and polite words,
He brings valuable gifts; and I’ve never seen
Such a promising messenger of love.
No day in April has ever felt as sweet,
To reveal how precious summer is about to be,
As this herald comes before his lord.

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, no more. I'm half afraid
You'll say soon that he's related to you,
You talk so highly of him.
Come on, Nerissa, I really want to see
Quick Cupid's messenger who arrives so gracefully.

NERISSA.
Bassanio, Lord Love, if thy will it be!

NERISSA.
Bassanio, my dear, if that's what you want!

[Exeunt.]

[Exit.]

ACT III

SCENE I. Venice. A street.

Enter Solanio and Salarino.

Enter Solanio and Salarino.

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 wrack’d 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, it’s still true that Antonio has a ship with valuable cargo wrecked in the shallow waters; I think they call the place the Goodwins, a very dangerous and deadly spot, where the remains of many great ships are said to be buried, if my friend Report can be trusted to tell the truth.

SOLANIO.
I would she were as lying a gossip in that as ever knapped ginger or made her neighbours 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,—O that I had a title good enough to keep his name company!—

SOLANIO.
I wish she was as much of a gossip about that as anyone who's ever made a fuss over ginger or convinced her neighbors that she cried over the death of her third husband. But it's true, without going off on tangents or getting lost in conversation, that the good Antonio, the honest Antonio—oh, if only I had a title worthy enough to be alongside his name!—

SALARINO.
Come, the full stop.

SALARINO.
Come on, the end period.

SOLANIO.
Ha, what sayest thou? Why, the end is, he hath lost a ship.

SOLANIO.
Ha, what do you say? Well, the bottom line is, he has lost a ship.

SALARINO.
I would it might prove the end of his losses.

SALARINO.
I wish it would be the end of his losses.

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" early, so the devil doesn't mess up my prayer, because here he comes looking like a Jew.

Enter Shylock.

Enter Shylock.

How now, Shylock, what news among the merchants?

How's it going, Shylock? What's new with the merchants?

SHYLOCK.
You knew, none so well, none so well as you, of my daughter’s flight.

SHYLOCK.
You knew, better than anyone, about my daughter running away.

SALARINO.
That’s certain, I, for my part, knew the tailor that made the wings she flew withal.

SALARINO.
That's for sure, I personally knew the tailor who made the wings she flew with.

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, for his part, knew the bird had grown up; and then it's just how they all are to leave the mother.

SHYLOCK.
She is damn’d for it.

SHYLOCK.
She's doomed for it.

SALARINO.
That’s certain, if the devil may be her judge.

SALARINO.
That’s for sure, if the devil can be her judge.

SHYLOCK.
My own flesh and blood to rebel!

SHYLOCK.
My own flesh and blood turning against me!

SOLANIO.
Out upon it, old carrion! Rebels it at these years?

SOLANIO.
Ugh, you old rotten thing! Are you rebelling at this age?

SHYLOCK.
I say my daughter is my flesh and my blood.

SHYLOCK.
I say my daughter is my own flesh and blood.

SALARINO.
There is more difference between thy flesh and hers than between jet and ivory, more between your bloods than there is between red wine and Rhenish. But tell us, do you hear whether Antonio have had any loss at sea or no?

SALARINO.
There’s a bigger difference between your body and hers than there is between jet and ivory, and more difference between your bloods than between red wine and Rhenish. But tell us, do you know if Antonio has faced any losses at sea or not?

SHYLOCK.
There I have another bad match, a bankrupt, a prodigal, who dare scarce show his head on the Rialto, a beggar that 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 cur’sy; let him look to his bond.

SHYLOCK.
There I have another bad deal, a broke guy, a reckless spender, who can barely show his face at the market, a beggar who used to come across so proudly at the bazaar; let him watch his agreement. He used to call me a moneylender; let him watch his agreement: he used to lend money for a Christian's favor; let him watch his agreement.

SALARINO.
Why, I am sure if he forfeit, thou wilt not take his flesh! What’s that good for?

SALARINO.
Well, I’m sure if he defaults, you won’t want his flesh! What’s that even good for?

SHYLOCK.
To bait fish withal; if it will feed nothing else, it will feed my revenge. He hath disgrac’d me and hind’red me half a million, laugh’d at my losses, mock’d 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.
To bait fish with; if nothing else will work, this will fuel my revenge. He has disgraced me and cost me a fortune, laughed at my losses, mocked my successes, scorned my people, messed up my deals, cooled my friends, and heated my enemies. And what’s his reason? I am a Jew. Doesn’t a Jew have eyes? Doesn’t a Jew have hands, organs, dimensions, senses, feelings, passions? We eat the same food, get hurt by the same weapons, suffer from the same diseases, healed by the same remedies, and warmed and cooled by the same winter and summer as a Christian? If you poke 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, shouldn’t we seek revenge? If we are the same in every other way, we will respond the same way in that regard. If a Jew wrongs a Christian, what is his humility? Revenge. If a Christian wrongs a Jew, what should he endure based on Christian examples? Why, revenge! The injustice you teach me, I will carry out, and you can bet I’ll improve upon the lesson.

Enter a man from Antonio.

A man enters from Antonio.

SERVANT.
Gentlemen, my master Antonio is at his house, and desires to speak with you both.

SERVANT.
Gentlemen, my boss Antonio is at his place and wants to talk to you both.

SALARINO.
We have been up and down to seek him.

SALARINO.
We’ve been all over trying to find him.

Enter Tubal.

Enter Tubal.

SOLANIO.
Here comes another of the tribe; a third cannot be match’d, unless the devil himself turn Jew.

SOLANIO.
Here comes another one of them; you can't find a third like this, unless the devil himself becomes a Jew.

[Exeunt Solanio, Salarino and the Servant.]

[Exit Solanio, Salarino and the Servant.]

SHYLOCK.
How now, Tubal, what news from Genoa? Hast thou found my daughter?

SHYLOCK.
So, Tubal, what's the news from Genoa? Have you found my daughter?

TUBAL.
I often came where I did hear of her, but cannot find her.

TUBAL.
I frequently went to places where I heard about her, but I can't find her.

SHYLOCK.
Why there, there, there, there! A diamond gone cost me two thousand ducats in Frankfort! 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.
Look, there, there, there! A diamond that cost me two thousand ducats in Frankfurt! The curse never hit our people until now; I never felt it until now. Two thousand ducats in that, along with other precious jewels. I wish my daughter were dead at my feet with the jewels in her ears; I wish she were buried at my feet with the ducats in her coffin. No news about them? Why not? And I don't even know what’s been spent searching for them. It's such a loss! The thief got away with so much, and there's so much being spent to find the thief, and no satisfaction, no revenge, and nothing bad happening except what I carry on my shoulders, no sighs except for my own breathing, no tears except for my own shedding.

TUBAL.
Yes, other men have ill luck too. Antonio, as I heard in Genoa—

TUBAL.
Yeah, other guys have bad luck too. Antonio, from what I heard in Genoa—

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.
—has a large merchant ship wrecked coming from Tripoli.

SHYLOCK.
I thank God! I thank God! Is it true, is it true?

SHYLOCK.
Thank God! Thank God! Is it really true, is it really true?

TUBAL.
I spoke with some of the sailors that escaped the wrack.

TUBAL.
I talked to some of the sailors who survived the wreck.

SHYLOCK.
I thank thee, good Tubal. Good news, good news! Ha, ha, heard in Genoa?

SHYLOCK.
Thanks, good Tubal. Great news, great news! Ha, ha, heard anything from Genoa?

TUBAL.
Your daughter spent in Genoa, as I heard, one night, fourscore ducats.

TUBAL.
I heard that your daughter spent eighty ducats in Genoa in just one night.

SHYLOCK.
Thou stick’st a dagger in me. I shall never see my gold again. Fourscore ducats at a sitting! Fourscore ducats!

SHYLOCK.
You're stabbing me with a dagger. I'll never see my gold again. Eighty ducats at once! Eighty ducats!

TUBAL.
There came divers of Antonio’s creditors in my company to Venice that swear he cannot choose but break.

TUBAL.
Some of Antonio’s creditors came to Venice with me and swear that he has no choice but to go bankrupt.

SHYLOCK.
I am very glad of it. I’ll plague him, I’ll torture him. I am glad of it.

SHYLOCK.
I'm really happy about it. I'll annoy him, I'll torment him. I'm glad about it.

TUBAL.
One of them showed me a ring that he had of your daughter for a monkey.

TUBAL.
One of them showed me a ring that he had of your daughter's 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.
Get away from her! You’re torturing me, Tubal. It was my turquoise; I got it from Leah when I was single. I wouldn’t have given it up for a whole jungle of monkeys.

TUBAL.
But Antonio is certainly undone.

TUBAL.
But Antonio is definitely finished.

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, Tubal, and meet me at our synagogue. Go, good Tubal, at our synagogue, Tubal.

SHYLOCK.
No, that's true, that's very true. Go, Tubal, hire an officer; arrange it two weeks in advance. I will take his heart if he defaults, because if he's out of Venice, I can trade however I want. Go, Tubal, and meet me at our synagogue. Go, good Tubal, at our synagogue, Tubal.

[Exeunt.]

[Leave the stage.]

SCENE II. Belmont. A room in Portia’s house.

Enter Bassanio, Portia, Gratiano, Nerissa and all their trains.

Enter Bassanio, Portia, Gratiano, Nerissa and all their followers.

PORTIA.
I pray you tarry, pause a day or two
Before you hazard, for in choosing wrong
I lose your company; therefore forbear a while.
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 then I am 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’erlook’d 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. O these naughty times
Puts 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 peise the time,
To eche it, and to draw it out in length,
To stay you from election.

PORTIA.
Please, take your time, wait a day or two
Before you make a choice, because if you choose wrong,
I’ll lose your company; so hold off for a bit.
Something tells me (but it’s not love)
I wouldn’t want to lose you, and you know yourself
Hate doesn’t advise in such matters.
But in case you don’t understand me well,—
And since a girl has no voice but her thoughts,—
I’d keep you here for a month or two
Before you decide on me. I could show you
How to choose wisely, but then I would be forsworn.
And I won’t be that way. So you might miss me.
But if you do, you’ll make me wish I had sinned,
That I had been forsworn. Curse your eyes,
They have seen me and torn me apart.
Half of me is yours, the other half yours,
My own, I would say; but if mine, then yours,
And so completely yours. Oh these troublesome times
Put barriers between owners and their rights!
So though it’s yours, it’s not fully yours. Prove it so,
Let Fortune take a hit for it, not me.
I talk too much, but it’s just to pass the time,
To stretch it out, and to draw it out in length,
To keep you from making a choice.

BASSANIO.
Let me choose,
For as I am, I live upon the rack.

BASSANIO.
Let me decide,
Because as I am, I’m tormented.

PORTIA.
Upon the rack, Bassanio! Then confess
What treason there is mingled with your love.

PORTIA.
Under pressure, Bassanio! Then admit
What betrayal is mixed with your love.

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.
Nothing but that ugly betrayal of mistrust,
Which makes me afraid to enjoy my love.
There could be as much friendship and life
Between snow and fire as there is between betrayal and my love.

PORTIA.
Ay, but I fear you speak upon the rack
Where men enforced do speak anything.

PORTIA.
Yes, but I worry you're speaking under pressure
Where people forced to talk will say anything.

BASSANIO.
Promise me life, and I’ll confess the truth.

BASSANIO.
Promise me your life, and I’ll tell you the truth.

PORTIA.
Well then, confess and live.

PORTIA.
Alright then, admit it 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”
Had been the main point of my confession:
Oh happy pain, when my torturer
Teaches me the answers for my freedom!
But let me get to my fate and the caskets.

PORTIA.
Away, then! I am lock’d 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 swan-like end,
Fading in music. That the comparison
May stand more proper, my eye shall be the stream
And wat’ry death-bed for him. He may win,
And what is music then? Then music is
Even as the flourish when true subjects bow
To a new-crowned 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. 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 bleared 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 mak’st the fray.

PORTIA.
Go away, then! I'm locked in one of those chests.
If you love me, you'll figure it out.
Nerissa and the others, stay back.
Let the music play while he makes his choice.
If he loses, he’ll meet a graceful end,
Fading away with the music. To make the comparison
More fitting, my eye will be the stream
And watery deathbed for him. He might win,
And what is music then? Then music is
Like the flourish when loyal subjects bow
To a newly crowned king. Just like
Those sweet sounds at dawn
That sneak into the dreaming bridegroom’s ear
And call him to marry. Now he goes,
With no less presence, but with much more love
Than young Hercules when he saved
The virgin tribute paid by wailing Troy
To the sea monster: I stand as the sacrifice;
The others in the background are the Trojan wives,
With tear-streaked faces coming out to see
The outcome of the contest. Go, Hercules!
You live, and I live. I’m much more troubled
Watching the fight than you are who’s in the battle.

A song, whilst Bassanio comments on the caskets to himself.

A song plays while Bassanio reflects on the caskets to himself.

     Tell me where is fancy bred,
     Or in the heart or in the head?
     How begot, how nourished?
        Reply, reply.
     It is engend’red 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.

Tell me where does fancy come from,
     Is it in the heart or in the head?
     How is it made, how is it fed?
        Answer me, answer me.
     It’s born in the eyes,
     Nurtured by gazing, and fancy fades
     In the cradle where it rests.
        Let’s all ring the bell for fancy:
        I’ll start it.—Ding, dong, bell.

ALL.
     Ding, dong, bell.

ALL.
     Ding, dong, bell.

BASSANIO.
So may the outward shows be least themselves.
The world is still deceiv’d with ornament.
In law, what plea so tainted and corrupt
But, being season’d with a gracious voice,
Obscures the show of evil? In religion,
What damned 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 search’d, have livers white as milk,
And these assume but valour’s excrement
To render them redoubted. Look on beauty,
And you shall see ’tis purchas’d by the weight,
Which therein works a miracle in nature,
Making them lightest that wear most of it:
So are those crisped snaky golden locks
Which make such wanton gambols with the wind
Upon supposed fairness, often known
To be the dowry of a second head,
The skull that bred them in the sepulchre.
Thus ornament is but the guiled 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 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 palenness moves me more than eloquence,
And here choose I, joy be the consequence!

BASSANIO.
So outward appearances can be the least genuine.
The world is still fooled by decoration.
In law, what argument is so tainted and corrupt
That, wrapped in a pleasant voice,
Doesn’t hide the evil beneath? In religion,
What terrible mistake but some serious person
Will bless it and approve it with a scripture,
Concealing the ugliness with pretty embellishments?
There’s no sin so simple that it doesn’t take on
Some mark of virtue on its surface.
How many cowards, whose hearts are as false
As a castle made of sand, still sport on their chins
The beards of Hercules and frowning Mars,
Who, if examined closely, have livers as white as milk,
And wear just the leftover bravery
To make them seem formidable. Look at beauty,
And you’ll see it’s bought at a cost,
Which performs a miracle in nature,
Making those who wear the most of it seem lightest:
So are those curly, snake-like golden locks
That play so freely with the wind
On supposed loveliness, often known
To be the inheritance of a second head,
The skull that housed them in the grave.
Thus, decoration is just a tempting shore
Leading to a perilous sea; the beautiful scarf
Covering an Indian beauty; in short,
The apparent truth that clever times wear
To trap the wisest. Therefore, you flashy gold,
Difficult bounty for Midas, I want none of you,
Nor do I want you, pale common laborer
Between man and man: but you, you meager lead,
Which threaten more than you promise,
Your paleness moves me more than words,
And here I choose, may joy be the result!

PORTIA.
[Aside.] How all the other passions fleet to air,
As doubtful thoughts, and rash-embrac’d despair,
And shudd’ring fear, and green-ey’d jealousy.
O love, be moderate; allay thy ecstasy,
In measure rain thy joy; scant this excess!
I feel too much thy blessing, make it less,
For fear I surfeit.

PORTIA.
[Aside.] How quickly all the other feelings vanish,
Like uncertain thoughts, impulsive despair,
Chilling fear, and green-eyed jealousy.
O love, be reasonable; calm your excitement,
Control your joy; limit this excess!
I feel your blessing too intensely, tone it down,
For fear I might have too much.

BASSANIO.
What find I here? [Opening the leaden casket.]
Fair Portia’s counterfeit! What demi-god
Hath come so near creation? Move these eyes?
Or whether, riding on the balls of mine,
Seem they in motion? Here are sever’d 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 unfurnish’d. 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.

BASSANIO.
What do I find here? [Opening the lead casket.]
A fake of beautiful Portia! What half-god
Has come so close to being real? Can these eyes move?
Or do they seem to be in motion? Here are parted lips,
Separated with sweet breath; such a barrier
Should not separate such sweet friends. Here in her hair,
The painter plays the spider and has woven
A golden web to trap the hearts of men
Faster than gnats in cobwebs. But her eyes!—
How could he see well enough to paint them? Having made one,
I’d think it should have the power to steal both his
And leave itself empty. Yet look how much
My praise falls short of this shadow; in undervaluing it, so far this shadow
Lags behind the reality. Here’s the scroll,
The contents and summary of my fate.

     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 pleas’d with this,
     And hold your fortune for your bliss,
     Turn to where your lady is,
     And claim her with a loving kiss.

You who choose not just by looks,
     Chance as fair and choose as true!
     Since this luck comes to you,
     Be happy and don't look for more.
     If you're pleased with this,
     And see your fortune as your happiness,
     Turn to where your lady is,
     And claim her with a loving kiss.

A gentle scroll. Fair lady, by your leave, [Kissing her.]
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 those peals of praise be his or no,
So, thrice-fair lady, stand I even so,
As doubtful whether what I see be true,
Until confirm’d, sign’d, ratified by you.

A gentle scroll. Fair lady, if you don’t mind, [Kissing her.]
I’ve come by note to give and to receive.
Like someone competing for a prize
Who thinks they’ve done well in everyone’s eyes,
Hearing applause and cheers all around,
Excited but still doubting,
Whether those cheers are really for them or not,
So, oh beautiful lady, I stand in the same way,
Unsure whether what I see is true,
Until it’s confirmed, signed, and approved by you.

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 virtues, beauties, livings, friends,
Exceed account. But the full sum of me
Is sum of something, which, to term in gross,
Is an unlesson’d girl, unschool’d, unpractis’d;
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.

PORTIA.
You see me, Lord Bassanio, standing here,
Just as I am; though for my own sake,
I wouldn’t be ambitious in my desires
To wish for anything better, yet for you,
I would be three times the person I am,
A thousand times more beautiful, ten thousand times
Richer,
So that just to hold a high place in your eyes,
I could surpass all in virtues, beauty, wealth, and friends.
But the total of who I am
Is just a mix of things, which, to put it simply,
Is an uneducated girl, inexperienced, untrained;
Happy in this, she’s not too old
To learn; even happier, she’s not so dull
That she can’t learn; happiest of all, her gentle spirit
Entrusts itself to yours to be guided,
As if you are her lord, her guide, her king.
Everything that is mine, is now yours,
I have given them to you. But just now, I was the lady
Of this beautiful home, in charge of my servants,
A queen over myself; and just now,
This house, these servants, and I myself
Are now yours, my lord. I give them with this ring,
Which if you lose, part with, or give away,
Let it be a sign of your love’s downfall,
And be my chance to call you out.

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 beloved prince, there doth appear
Among the buzzing pleased multitude,
Where every something being blent together,
Turns to a wild of nothing, save of joy
Express’d and not express’d. 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,
Only my blood speaks to you in my veins,
And I’m feeling so confused
Like after a great speech made
By a beloved prince, when you see
The happy crowd buzzing around,
Where everything mixes together,
Turning into chaos, except for joy
Expressed and unexpressed. But when this ring
Is gone from this finger, then life is gone from here.
Oh, then feel free to say Bassanio’s 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 our time now,
Having stood by and seen our wishes come true,
To cheer, good joy. Good joy, my lord and lady!

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 honours 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 lovely lady,
I wish you all the happiness you can hope for;
Because I know you can't wish for anything from me.
And when you both plan to celebrate
The promise of your love, I kindly ask that
At that moment, I can also get married.

BASSANIO.
With all my heart, so thou canst get a wife.

BASSANIO.
I genuinely hope you can find a wife.

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 lov’d, I lov’d; for intermission
No more pertains to me, my lord, than you.
Your fortune stood upon the caskets 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
Achiev’d her mistress.

GRATIANO.
Thank you, my lord, for getting me one.
My eyes can look as quickly as yours:
You saw the lady, I saw the maid.
You loved, I loved; for me, there's no pause
that matters more than it does to you.
Your luck was tied to the caskets over there,
and so was mine, as it turns out.
After wooing until I was sweating again,
and swearing until my roof was dry
with promises of love, finally, (if promises hold)
I received a promise from this lovely one here
that I could have her love, as long as your luck
won her lady.

PORTIA.
Is this true, Nerissa?

PORTIA.
Is that true, Nerissa?

NERISSA.
Madam, it is, so you stand pleas’d withal.

NERISSA.
Ma'am, it is, as long as you're happy with it.

BASSANIO.
And do you, Gratiano, mean good faith?

BASSANIO.
And do you, Gratiano, really mean it?

GRATIANO.
Yes, faith, my lord.

GRATIANO.
Yes, truly, my lord.

BASSANIO.
Our feast shall be much honoured in your marriage.

BASSANIO.
Your marriage will make our feast much more special.

GRATIANO.
We’ll play with them the first boy for a thousand ducats.

GRATIANO.
We'll bet with them the first boy for a thousand ducats.

NERISSA.
What! and stake down?

NERISSA.
What! and stake it down?

GRATIANO.
No, we shall ne’er win at that sport and stake down.
But who comes here? Lorenzo and his infidel?
What, and my old Venetian friend, Salerio!

GRATIANO.
No, we’ll never succeed at that game and settle down.
But who’s coming here? Lorenzo and his non-believer?
What, and my old Venetian friend, Salerio!

Enter Lorenzo, Jessica and Salerio.

Enter Lorenzo, Jessica and Salerio.

BASSANIO.
Lorenzo and Salerio, welcome hither,
If that the youth of my new int’rest here
Have power to bid you welcome. By your leave,
I bid my very friends and countrymen,
Sweet Portia, welcome.

BASSANIO.
Lorenzo and Salerio, welcome here,
If the young man of my new interest here
Has the ability to welcome you. With your permission,
I welcome my dear friends and fellow countrymen,
Sweet Portia, welcome.

PORTIA.
So do I, my lord,
They are entirely welcome.

PORTIA.
I do as well, my lord,
They are completely welcome.

LORENZO.
I thank your honour. For my part, my lord,
My purpose was not to have seen you here,
But meeting with Salerio by the way,
He did entreat me, past all saying nay,
To come with him along.

LORENZO.
Thank you, your honor. To be honest, my lord,
I didn't plan to see you here,
But when I ran into Salerio on the way,
He insisted, beyond what I could refuse,
To come along with him.

SALERIO.
I did, my lord,
And I have reason for it. Signior Antonio
Commends him to you.

SALERIO.
I did, my lord,
And I have a good reason for it. Signior Antonio
sends his regards to you.

[Gives Bassanio a letter.]

[Gives Bassanio a letter.]

BASSANIO.
Ere I ope his letter,
I pray you tell me how my good friend doth.

BASSANIO.
Before I open his letter,
I ask you to tell me how my good friend is doing.

SALERIO.
Not sick, my lord, unless it be in mind,
Nor well, unless in mind. His letter there
Will show you his estate.

SALERIO.
Not sick, my lord, unless it’s in his mind,
Nor well, unless it’s in his mind. His letter there
Will show you his situation.

[Bassanio opens the letter.]

[Bassanio reads the letter.]

GRATIANO.
Nerissa, cheer yond stranger, bid her welcome.
Your hand, Salerio. What’s the news from Venice?
How doth that royal merchant, good Antonio?
I know he will be glad of our success.
We are the Jasons, we have won the fleece.

GRATIANO.
Nerissa, cheer up that stranger, welcome her.
Give me your hand, Salerio. What’s the news from Venice?
How is that wealthy merchant, good Antonio?
I know he’ll be happy about our success.
We are the Jasons; we have won the fleece.

SALERIO.
I would you had won the fleece that he hath lost.

SALERIO.
I wish you had won the prize that he lost.

PORTIA.
There are some shrewd contents in yond same paper
That steals the colour from Bassanio’s cheek.
Some dear friend dead, else nothing in the world
Could turn so much the constitution
Of any constant man. What, worse and worse?
With leave, Bassanio, I am half yourself,
And I must freely have the half of anything
That this same paper brings you.

PORTIA.
There are some sharp details in that paper
That drain the color from Bassanio’s face.
A dear friend is dead; otherwise, nothing in the world
Could shake the resolve
Of any steadfast man. What, getting worse?
With your permission, Bassanio, I am half of you,
And I have to know everything
That this paper brings you.

BASSANIO.
O sweet Portia,
Here are a few of the unpleasant’st words
That ever blotted paper. Gentle lady,
When I did first impart my love to you,
I freely told you all the wealth I had
Ran in my veins, I was a gentleman.
And then I told you true. And yet, dear lady,
Rating myself at nothing, you shall see
How much I was a braggart. When I told you
My state was nothing, I should then have told you
That I was worse than nothing; for indeed
I have engag’d myself to a dear friend,
Engag’d my friend to his mere enemy,
To feed my means. Here is a letter, lady,
The paper as the body of my friend,
And every word in it a gaping wound
Issuing life-blood. But is it true, Salerio?
Hath all his ventures fail’d? What, not one hit?
From Tripolis, from Mexico, and England,
From Lisbon, Barbary, and India,
And not one vessel scape the dreadful touch
Of merchant-marring rocks?

BASSANIO.
Oh sweet Portia,
Here are a few of the most unpleasant words
That ever stained paper. Gentle lady,
When I first shared my love with you,
I openly told you all the wealth I had
Flowed in my veins; I was a gentleman.
And then I spoke honestly. And yet, dear lady,
When I rated myself as nothing, you will see
How much of a braggart I was. When I told you
My situation was nothing, I should have said
That I was worse than nothing; for indeed
I have committed myself to a dear friend,
Committed my friend to his complete enemy,
To support my means. Here is a letter, lady,
The paper like the body of my friend,
And every word in it a gaping wound
Shedding life-blood. But is it true, Salerio?
Have all his ventures failed? What, not one success?
From Tripolis, from Mexico, and England,
From Lisbon, Barbary, and India,
And not one vessel escape the terrible grip
Of merchant-destroying rocks?

SALERIO.
Not one, my lord.
Besides, it should appear, that if he had
The present money to discharge the Jew,
He would not take it. Never did I know
A creature that did bear the shape of man
So keen and greedy to confound a man.
He plies the Duke at morning and at night,
And doth impeach the freedom of the state
If they deny him justice. Twenty merchants,
The Duke himself, and the magnificoes
Of greatest port have all persuaded with him,
But none can drive him from the envious plea
Of forfeiture, of justice, and his bond.

SALERIO.
Not one, my lord.
Besides, it seems that if he had
The money to pay off the Jew,
He still wouldn't accept it. I've never met
Anyone who looks human
So eager and greedy to ruin a man.
He bothers the Duke morning and night,
And threatens the freedom of the state
If they refuse him justice. Twenty merchants,
The Duke himself, and the esteemed nobles
Of high standing have all tried to reason with him,
But none can shake him from his relentless claim
For forfeiture, justice, and his bond.

JESSICA.
When I was with him, I have heard him swear
To Tubal and to Chus, his countrymen,
That he would rather have Antonio’s flesh
Than twenty times the value of the sum
That he did owe him. And I know, my lord,
If law, authority, and power deny not,
It will go hard with poor Antonio.

JESSICA.
When I was with him, I heard him swear
To Tubal and Chus, his fellow countrymen,
That he would rather have Antonio’s flesh
Than twenty times the amount
That he owed him. And I know, my lord,
If the law, authority, and power don’t object,
It will be tough for poor Antonio.

PORTIA.
Is it your dear friend that is thus in trouble?

PORTIA.
Is it your close friend who's in trouble?

BASSANIO.
The dearest friend to me, the kindest man,
The best condition’d and unwearied spirit
In doing courtesies, and one in whom
The ancient Roman honour more appears
Than any that draws breath in Italy.

BASSANIO.
The closest friend I have, the nicest guy,
The most generous and tireless spirit
When it comes to kindness, and in whom
The old Roman honor shines brighter
Than anyone alive in Italy.

PORTIA.
What sum owes he the Jew?

PORTIA.
How much does he owe the Jew?

BASSANIO.
For me three thousand ducats.

BASSANIO.
For me $3,000.

PORTIA.
What, no more?
Pay him six thousand, and deface the bond.
Double six thousand, and then treble that,
Before a friend of this description
Shall lose a hair through Bassanio’s fault.
First go with me to church and call me wife,
And then away to Venice to your friend.
For never shall you lie by Portia’s side
With an unquiet soul. You shall have gold
To pay the petty debt twenty times over.
When it is paid, bring your true friend along.
My maid Nerissa and myself meantime,
Will live as maids and widows. Come, away!
For you shall hence upon your wedding day.
Bid your friends welcome, show a merry cheer;
Since you are dear bought, I will love you dear.
But let me hear the letter of your friend.

PORTIA.
What, that’s it?
Pay him six thousand, and cancel the bond.
Double six thousand, and then triple that,
Before someone like this friend of yours
Loses even a single hair because of Bassanio.
First, come with me to the church and make me your wife,
And then head off to Venice to see your friend.
For you will never lie next to Portia
With an unsettled heart. You’ll have the gold
To pay off the small debt many times over.
Once it's settled, bring your true friend along.
My maid Nerissa and I will just stay as maids and widows in the meantime. Come on!
Because you’re heading out on your wedding day.
Welcome your friends, show them a happy face;
Since you are worth a lot, I will love you dearly.
But let me hear the letter from your friend.

BASSANIO.
Sweet Bassanio, my ships have all miscarried, my creditors grow cruel, my estate is very low, my bond to the Jew is forfeit, and since in paying it, it is impossible I should live, all debts are clear’d between you and I, if I might but see you at my death. Notwithstanding, use your pleasure. If your love do not persuade you to come, let not my letter.

BASSANIO.
Sweet Bassanio, all my ships have failed, my creditors are being ruthless, my finances are really low, my debt to the Jew is due, and since I can’t pay it back and survive, all debts between us are settled if I could just see you before I die. Still, do what you want. If your love doesn’t motivate you to come, then don’t let my letter.

PORTIA.
O love, dispatch all business and be gone!

PORTIA.
Oh love, finish all your work and leave!

BASSANIO.
Since I have your good leave to go away,
I will make haste; but, till I come again,
No bed shall e’er be guilty of my stay,
Nor rest be interposer ’twixt us twain.

BASSANIO.
Since you’ve given me permission to leave,
I’ll hurry up; but until I return,
No bed will ever be to blame for my delay,
And no rest will come between us two.

[Exeunt.]

[They exit.]

SCENE III. Venice. A street.

Enter Shylock, Salarino, Antonio and Gaoler.

Enter Shylock, Salarino, Antonio and Guard.

SHYLOCK.
Gaoler, look to him. Tell not me of mercy.
This is the fool that lent out money gratis.
Gaoler, look to him.

SHYLOCK.
Jailer, keep an eye on him. Don't talk to me about mercy.
This is the idiot who lent out money for free.
Jailer, keep an eye on him.

ANTONIO.
Hear me yet, good Shylock.

ANTONIO.
Listen to me, good Shylock.

SHYLOCK.
I’ll have my bond, speak not against my bond.
I have sworn an oath that I will have my bond.
Thou call’dst me dog before thou hadst a cause,
But since I am a dog, beware my fangs;
The Duke shall grant me justice. I do wonder,
Thou naughty gaoler, that thou art so fond
To come abroad with him at his request.

SHYLOCK.
I want my bond, don't argue about it.
I've sworn an oath that I will get my bond.
You called me a dog before you had a reason,
But now that I am a dog, watch out for my fangs;
The Duke will give me justice. I’m curious,
You naughty jailer, why you’re so eager
To come out with him at his request.

ANTONIO.
I pray thee hear me speak.

ANTONIO.
Please hear me out.

SHYLOCK.
I’ll have my bond. I will not hear thee speak.
I’ll have my bond, and therefore speak no more.
I’ll not be made a soft and dull-eyed fool,
To shake the head, relent, and sigh, and yield
To Christian intercessors. Follow not,
I’ll have no speaking, I will have my bond.

SHYLOCK.
I want my agreement. I don't want to hear you talk.
I want my agreement, so let’s not say anything more.
I won’t be turned into a naive and foolish person,
Nodding my head, giving in, sighing, and submitting
To Christian pleaders. Don't follow me,
I don’t want to talk, I will have my agreement.

[Exit.]

[Log out.]

SALARINO.
It is the most impenetrable cur
That ever kept with men.

SALARINO.
It's the most stubborn dog
That ever hung out with people.

ANTONIO.
Let him alone.
I’ll follow him no more with bootless prayers.
He seeks my life, his reason well I know:
I oft deliver’d from his forfeitures
Many that have at times made moan to me.
Therefore he hates me.

ANTONIO.
Leave him be.
I won’t bother him anymore with useless prayers.
He wants my life, and I know why:
I’ve often saved people from his penalties
Many who have, at times, complained to me.
That’s why he hates me.

SALARINO.
I am sure the Duke
Will never grant this forfeiture to hold.

SALARINO.
I'm sure the Duke
Will never allow this forfeiture to stand.

ANTONIO.
The Duke cannot deny the course of law,
For the commodity that strangers have
With us in Venice, if it be denied,
’Twill much impeach the justice of the state,
Since that the trade and profit of the city
Consisteth of all nations. Therefore, go.
These griefs and losses have so bated me
That I shall hardly spare a pound of flesh
Tomorrow to my bloody creditor.
Well, gaoler, on, pray God Bassanio come
To see me pay his debt, and then I care not.

ANTONIO.
The Duke can’t ignore the law,
Because the business that outsiders have
With us in Venice, if it’s denied,
Will significantly harm the justice of the state,
Since the city’s trade and profit
Come from all nations. So, go.
These troubles and losses have worn me down
That I can barely spare a pound of flesh
Tomorrow for my bloody creditor.
Well, jailer, let’s hope Bassanio comes
To see me pay his debt, and then I won’t care.

[Exeunt.]

[Leave the stage.]

SCENE IV. Belmont. A room in Portia’s house.

Enter Portia, Nerissa, Lorenzo, Jessica and Balthazar.

Enter Portia, Nerissa, Lorenzo, Jessica, and Balthazar.

LORENZO.
Madam, although I speak it in your presence,
You have a noble and a true conceit
Of godlike amity, which appears most strongly
In bearing thus the absence of your lord.
But if you knew to whom you show this honour,
How true a gentleman you send relief,
How dear a lover of my lord your husband,
I know you would be prouder of the work
Than customary bounty can enforce you.

LORENZO.
Madam, even though I'm saying this in front of you,
You have a noble and genuine idea
Of divine friendship, which is most evident
In how you handle the absence of your husband.
But if you knew to whom you are showing this honor,
How genuine a gentleman is providing help,
How devoted a lover your husband truly is,
I know you would take greater pride in this task
Than what usual generosity could compel you to feel.

PORTIA.
I never did repent for doing good,
Nor shall not now; for in companions
That do converse and waste the time together,
Whose souls do bear an equal yoke of love,
There must be needs a like proportion
Of lineaments, of manners, and of spirit;
Which makes me think that this Antonio,
Being the bosom lover of my lord,
Must needs be like my lord. If it be so,
How little is the cost I have bestowed
In purchasing the semblance of my soul
From out the state of hellish cruelty!
This comes too near the praising of myself;
Therefore no more of it. Hear other things.
Lorenzo, I commit into your hands
The husbandry and manage of my house
Until my lord’s return. For mine own part,
I have toward heaven breath’d a secret vow
To live in prayer and contemplation,
Only attended by Nerissa here,
Until her husband and my lord’s return.
There is a monastery two miles off,
And there we will abide. I do desire you
Not to deny this imposition,
The which my love and some necessity
Now lays upon you.

PORTIA.
I’ve never regretted doing good,
And I won’t start now; because in friendships
Where people talk and spend time together,
Whose hearts share a bond of love,
There has to be a similar mix
Of traits, behaviors, and spirit;
This makes me think that this Antonio,
Being a close friend of my lord,
Must be like my lord. If that’s the case,
How little have I spent
In buying the likeness of my soul
From the depths of cruel despair!
This is getting a bit close to self-praise;
So let’s move on. Lorenzo, I trust you
With taking care of my house
Until my lord returns. For my part,
I’ve made a quiet vow to heaven
To live in prayer and reflection,
Only accompanied by Nerissa here,
Until her husband and my lord come back.
There’s a monastery two miles away,
And that’s where we will stay. I really hope you
Won’t deny this request,
Which my love and some necessity
Now place on you.

LORENZO.
Madam, with all my heart
I shall obey you in all fair commands.

LORENZO.
Ma'am, I'll wholeheartedly
follow all your reasonable requests.

PORTIA.
My people do already know my mind,
And will acknowledge you and Jessica
In place of Lord Bassanio and myself.
So fare you well till we shall meet again.

PORTIA.
My people already know how I feel,
And will recognize you and Jessica
In place of Lord Bassanio and me.
So goodbye until we meet again.

LORENZO.
Fair thoughts and happy hours attend on you!

LORENZO.
Good vibes and happy times are with you!

JESSICA.
I wish your ladyship all heart’s content.

JESSICA.
I wish you all the happiness in the world.

PORTIA.
I thank you for your wish, and am well pleas’d
To wish it back on you. Fare you well, Jessica.

PORTIA.
Thanks for your kind wish, and I’m happy to send it right back to you. Take care, Jessica.

[Exeunt Jessica and Lorenzo.]

[Jessica and Lorenzo exit.]

Now, Balthazar,
As I have ever found thee honest-true,
So let me find thee still. Take this same letter,
And use thou all th’ endeavour of a man
In speed to Padua, see thou render this
Into my cousin’s hands, Doctor Bellario;
And look what notes and garments he doth give thee,
Bring them, I pray thee, with imagin’d speed
Unto the traject, to the common ferry
Which trades to Venice. Waste no time in words,
But get thee gone. I shall be there before thee.

Now, Balthazar,
As I've always found you to be honest,
I hope to find you the same way now. Take this letter,
And do your best as a man
To get to Padua quickly, and make sure you give this
Into my cousin’s hands, Doctor Bellario;
And whatever notes and clothes he gives you,
Please bring them back here quickly
To the ferry that goes to Venice. Don’t waste time talking,
Just get going. I’ll be there before you.

BALTHAZAR.
Madam, I go with all convenient speed.

BALTHAZAR.
Ma'am, I’ll be on my way as quickly as I can.

[Exit.]

[Leave.]

PORTIA.
Come on, Nerissa, I have work in hand
That you yet know not of; we’ll see our husbands
Before they think of us.

PORTIA.
Come on, Nerissa, I have something to do
That you don’t know about yet; we’ll see our husbands
Before they even think of us.

NERISSA.
Shall they see us?

NERISSA.
Will they see us?

PORTIA.
They shall, Nerissa, but in such a habit
That they shall think we are accomplished
With that we lack. I’ll hold thee any wager,
When we are both accoutered like young men,
I’ll prove the prettier fellow of the two,
And wear my dagger with the braver grace,
And speak between the change of man and boy
With a reed voice; and turn two mincing steps
Into a manly stride; and speak of frays
Like a fine bragging youth; and tell quaint lies
How honourable ladies sought my love,
Which I denying, they fell sick and died;
I could not do withal. Then I’ll repent,
And wish for all that, that I had not kill’d them.
And twenty of these puny lies I’ll tell,
That men shall swear I have discontinued school
About a twelvemonth. I have within my mind
A thousand raw tricks of these bragging Jacks,
Which I will practise.

PORTIA.
They will, Nerissa, but in such a way
That they’ll think we’re skilled
In what we lack. I’ll bet you anything,
When we’re both dressed like young men,
I’ll prove to be the better-looking one of the two,
And wear my dagger with a bolder style,
And speak between the tone of a man and a boy
With a light voice; and turn two graceful steps
Into a manly walk; and talk about fights
Like a flashy young guy; and tell clever lies
About how noble ladies desired my love,
Which I refused, and they fell sick and died;
I couldn’t help it. Then I’ll feel bad,
And wish for all that, that I hadn’t caused their deaths.
And I’ll tell twenty of these silly lies,
That men will swear I’ve been out of school
For about a year. I have a bunch of raw tricks
From these bragging guys in my mind,
Which I’ll practice.

NERISSA.
Why, shall we turn to men?

NERISSA.
Why, should we focus on men?

PORTIA.
Fie, what a question’s that,
If thou wert near a lewd interpreter!
But come, I’ll tell thee all my whole device
When I am in my coach, which stays for us
At the park gate; and therefore haste away,
For we must measure twenty miles today.

PORTIA.
Come on, what kind of question is that,
If you were with a disrespectful interpreter?
But come, I’ll share my entire plan with you
When I'm in my carriage, which is waiting for us
At the park gate; so let’s hurry,
Because we need to travel twenty miles today.

[Exeunt.]

[Exit.]

SCENE V. The same. A garden.

Enter Launcelet and Jessica.

Enter Launcelet and Jessica.

LAUNCELET.
Yes, truly, for look you, the sins of the father are to be laid upon the children, therefore, I promise you, I fear you. I was always plain with you, and so now I speak my agitation of the matter. Therefore be of good cheer, for truly I think you are damn’d. There is but one hope in it that can do you any good, and that is but a kind of bastard hope neither.

LAUNCELET.
Yes, really, because, you see, the father's sins will fall on the children, so I must tell you, I’m worried about you. I’ve always been straightforward with you, and now I'm expressing my concern about this situation. So stay positive, because honestly, I think you’re in deep trouble. There’s only one hope that could possibly help you, and even that feels like a long shot.

JESSICA.
And what hope is that, I pray thee?

JESSICA.
And what hope is that, may I ask?

LAUNCELET.
Marry, you may partly hope that your father got you not, that you are not the Jew’s daughter.

LAUNCELET.
Honestly, you can somewhat hope that your father didn't father you, that you aren't the Jew's daughter.

JESSICA.
That were a kind of bastard hope indeed; so the sins of my mother should be visited upon me.

JESSICA.
That was a pretty messed-up hope; so my mother’s sins should fall on me.

LAUNCELET.
Truly then I fear you are damn’d both by father and mother; thus when I shun Scylla your father, I fall into Charybdis your mother. Well, you are gone both ways.

LAUNCELET.
I truly fear you're doomed by both your father and mother; so when I avoid Scylla, your dad, I end up in Charybdis, your mom. Well, you've got it from both sides.

JESSICA.
I shall be saved by my husband. He hath made me a Christian.

JESSICA.
I will be saved by my husband. He has made me a Christian.

LAUNCELET.
Truly the more to blame he, we were Christians enow before, e’en as many as could well live one by another. This making of Christians will raise the price of hogs; if we grow all to be pork-eaters, we shall not shortly have a rasher on the coals for money.

LAUNCELET.
Honestly, he’s more to blame. We were plenty Christian before, enough to get along with one another. This push to make everyone Christians will drive up the price of pigs; if we all become pork-eaters, we won’t be able to afford a slice of bacon on the grill anytime soon.

Enter Lorenzo.

Enter Lorenzo.

JESSICA.
I’ll tell my husband, Launcelet, what you say. Here he comes.

JESSICA.
I’ll tell my husband, Launcelet, what you said. Here he comes.

LORENZO.
I shall grow jealous of you shortly, Launcelet, if you thus get my wife into corners!

LORENZO.
I’m going to get jealous of you pretty soon, Launcelet, if you keep cornering my wife like this!

JESSICA.
Nay, you need not fear us, Lorenzo. Launcelet and I are out. He tells me flatly there’s no mercy for me in heaven, because I am a Jew’s daughter; and he says you are no good member of the commonwealth, for in converting Jews to Christians you raise the price of pork.

JESSICA.
No, you don't have to worry about us, Lorenzo. Launcelet and I are leaving. He bluntly tells me there’s no mercy for me in heaven because I’m a Jew’s daughter; and he says you aren't a good member of the community, because by converting Jews to Christians, you drive up the price of pork.

LORENZO.
I shall answer that better to the commonwealth than you can the getting up of the negro’s belly! The Moor is with child by you, Launcelet.

LORENZO.
I’ll respond to that better for the community than you can get the black guy to stand up! The Moor is pregnant with your child, Launcelet.

LAUNCELET.
It is much that the Moor should be more than reason; but if she be less than an honest woman, she is indeed more than I took her for.

LAUNCELET.
It's surprising that the Moor should be more than reasonable; but if she's less than an honest woman, she's definitely more than I expected her to be.

LORENZO.
How every fool can play upon the word! I think the best grace of wit will shortly turn into silence, and discourse grow commendable in none only but parrots. Go in, sirrah; bid them prepare for dinner.

LORENZO.
How easily a fool can play with words! I think the best kind of wit will soon fade into silence, and conversation will only be admirable from parrots. Go on, dude; tell them to get ready for dinner.

LAUNCELET.
That is done, sir, they have all stomachs.

LAUNCELET.
That's done, sir, they can all eat.

LORENZO.
Goodly Lord, what a wit-snapper are you! Then bid them prepare dinner.

LORENZO.
Good Lord, what a quick wit you are! Then tell them to get dinner ready.

LAUNCELET.
That is done too, sir, only “cover” is the word.

LAUNCELET.
That's done too, sir; "cover" is the word.

LORENZO.
Will you cover, then, sir?

Lorenzo.
Will you cover that, sir?

LAUNCELET.
Not so, sir, neither. I know my duty.

LAUNCELET.
Not at all, sir. I know my responsibility.

LORENZO.
Yet more quarrelling with occasion! Wilt thou show the whole wealth of thy wit in an instant? I pray thee understand a plain man in his plain meaning: go to thy fellows, bid them cover the table, serve in the meat, and we will come in to dinner.

LORENZO.
Yet more arguing over nothing! Are you really going to show off all your cleverness at once? Please, just understand a straightforward guy in his straightforward way: go to your friends, tell them to set the table, serve the food, and we’ll come in for dinner.

LAUNCELET.
For the table, sir, it shall be served in; for the meat, sir, it shall be covered; for your coming in to dinner, sir, why, let it be as humours and conceits shall govern.

LAUNCELET.
For the table, sir, it will be set up; for the food, sir, it will be covered; as for your arrival for dinner, sir, let it happen as moods and whims dictate.

[Exit.]

[Leave.]

LORENZO.
O dear discretion, how his words are suited!
The fool hath planted in his memory
An army of good words, and I do know
A many fools that stand in better place,
Garnish’d like him, that for a tricksy word
Defy the matter. How cheer’st thou, Jessica?
And now, good sweet, say thy opinion,
How dost thou like the Lord Bassanio’s wife?

LORENZO.
Oh dear discretion, how well his words fit!
The fool has filled his head
With a lot of good phrases, and I know
Many fools who are in a better position,
Dressed like him, who for a clever word
Ignore the substance. How are you, Jessica?
And now, my dear, share your thoughts,
What do you think of Lord Bassanio’s wife?

JESSICA.
Past all expressing. It is very meet
The Lord Bassanio live an upright life,
For having such a blessing in his lady,
He finds the joys of heaven here on earth,
And if on earth he do not merit it,
In reason he should never come to heaven.
Why, if two gods should play some heavenly match,
And on the wager lay two earthly women,
And Portia one, there must be something else
Pawn’d with the other, for the poor rude world
Hath not her fellow.

JESSICA.
It's beyond words. It's only right
That Lord Bassanio lives a good life,
Because with a blessing like his lady,
He experiences the joys of heaven right here on earth,
And if he doesn't deserve it on earth,
Then logically, he shouldn't get to heaven.
Well, if two gods were to play some divine game,
And wager two earthly women,
With Portia being one, then there must be something else
Staked with the other, because the rough world
Has no equal to her.

LORENZO.
Even such a husband
Hast thou of me as she is for a wife.

LORENZO.
Even a husband like me
Is what you have, just as she is for a wife.

JESSICA.
Nay, but ask my opinion too of that.

JESSICA.
No, but also ask for my opinion on that.

LORENZO.
I will anon. First let us go to dinner.

LORENZO.
I’ll do it soon. First, let’s have dinner.

JESSICA.
Nay, let me praise you while I have a stomach.

JESSICA.
No, let me compliment you while I still can.

LORENZO.
No pray thee, let it serve for table-talk.
Then howsome’er thou speak’st, ’mong other things
I shall digest it.

LORENZO.
No, please, let it be for conversation.
Then whatever you say, among other things
I will take it in.

JESSICA.
Well, I’ll set you forth.

JESSICA.
Well, I’ll send you off.

[Exeunt.]

[They leave.]

ACT IV

SCENE I. Venice. A court of justice.

Enter the Duke, the Magnificoes, Antonio, Bassanio, Gratiano, Salerio and others.

Enter the Duke, the Magnificoes, Antonio, Bassanio, Gratiano, Salerio and others.

DUKE.
What, is Antonio here?

DUKE.
What, is Antonio around?

ANTONIO.
Ready, so please your Grace.

ANTONIO.
Ready, your Grace.

DUKE.
I am sorry for thee, thou art come to answer
A stony adversary, an inhuman wretch,
Uncapable of pity, void and empty
From any dram of mercy.

DUKE.
I’m sorry for you, you’ve come to face
A heartless enemy, a monstrous being,
Incapable of compassion, lacking
Any trace of mercy.

ANTONIO.
I have heard
Your Grace hath ta’en great pains to qualify
His rigorous course; but since he stands obdurate,
And that no lawful means can carry me
Out of his envy’s reach, I do oppose
My patience to his fury, and am arm’d
To suffer with a quietness of spirit
The very tyranny and rage of his.

ANTONIO.
I’ve heard
Your Grace has made significant efforts to soften
His harsh behavior; but since he remains stubborn,
And no legal way can get me
Out of his envy’s grasp, I choose to meet
His anger with my patience, and I’m prepared
To endure his tyranny and rage
With a calm spirit.

DUKE.
Go one and call the Jew into the court.

DUKE.
Go and bring the Jew into the courtroom.

SALARINO.
He is ready at the door. He comes, my lord.

SALARINO.
He's at the door. He's coming, my lord.

Enter Shylock.

Enter Shylock.

DUKE.
Make room, and let him stand before our face.
Shylock, the world thinks, and I think so too,
That thou but leadest this fashion of thy malice
To the last hour of act, and then, ’tis thought,
Thou’lt show thy mercy and remorse more strange
Than is thy strange apparent cruelty;
And where thou now exacts the penalty,
Which is a pound of this poor merchant’s flesh,
Thou wilt not only loose the forfeiture,
But, touch’d with human gentleness and love,
Forgive a moiety of the principal,
Glancing an eye of pity on his losses
That have of late so huddled on his back,
Enow to press a royal merchant down,
And pluck commiseration of his state
From brassy bosoms and rough hearts of flint,
From stubborn Turks and Tartars never train’d
To offices of tender courtesy.
We all expect a gentle answer, Jew.

DUKE.
Make space, and let him stand in front of us.
Shylock, the world believes, and I believe too,
That you’re just dragging out this act of yours
Until the very end, and then, it’s thought,
You’ll show your mercy and remorse in a way
That’s even more surprising than your obvious cruelty;
And where you’re currently demanding the penalty,
A pound of this poor merchant’s flesh,
You won’t just waive the forfeiture,
But, touched with human kindness and love,
You’ll forgive part of the principal,
Casting a pitying glance at his losses
That have recently piled up on him,
Enough to bring a royal merchant down,
And draw sympathy for his situation
From hearts of stone and tough souls,
From stubborn Turks and Tartars who have never been trained
To show gentle courtesy.
We all expect a compassionate response, Jew.

SHYLOCK.
I have possess’d your Grace of what I purpose,
And by our holy Sabbath have I sworn
To have the due and forfeit of my bond.
If you deny it, let the danger light
Upon your charter and your city’s freedom!
You’ll ask me why I rather choose to have
A weight of carrion flesh than to receive
Three thousand ducats. I’ll not answer that,
But say it is my humour. Is it answer’d?
What if my house be troubled with a rat,
And I be pleas’d to give ten thousand ducats
To have it ban’d? What, are you answer’d yet?
Some men there are love not a gaping pig;
Some that are mad if they behold a cat;
And others, when the bagpipe sings i’ the nose,
Cannot contain their urine; for affection
Mistress of passion, sways it to the mood
Of what it likes or loathes. Now, for your answer:
As there is no firm reason to be render’d
Why he cannot abide a gaping pig,
Why he a harmless necessary cat,
Why he a woollen bagpipe, but of force
Must yield to such inevitable shame
As to offend, himself being offended,
So can I give no reason, nor I will not,
More than a lodg’d hate and a certain loathing
I bear Antonio, that I follow thus
A losing suit against him. Are you answered?

SHYLOCK.
I’ve informed your Grace of my intentions,
And by our holy Sabbath I have sworn
To collect what is due and owed to me.
If you refuse, let the consequences fall
On your charter and your city’s freedom!
You may wonder why I’d prefer to have
A weight of rotten flesh over receiving
Three thousand ducats. I won’t explain,
But I’ll just say it’s my preference. Is that clear?
What if there’s a rat in my house,
And I’m willing to pay ten thousand ducats
To get rid of it? Are you following me yet?
Some people don’t like a gaping pig;
Some go mad at the sight of a cat;
And others, when a bagpipe plays near their nose,
Can’t help but wet themselves; because desire,
The mistress of passion, influences their mood
Based on what they love or hate. Now, for your response:
Since there’s no solid reason given
For why someone can’t stand a gaping pig,
Why he despises an innocent cat,
Or why he can’t stand a woollen bagpipe, yet
Must submit to such unavoidable shame,
As to offend while being offended,
I can offer you no reason, nor will I,
Other than a deep-seated hatred and a certain loathing
I have for Antonio, which is why I pursue
This losing case against him. Are you satisfied?

BASSANIO.
This is no answer, thou unfeeling man,
To excuse the current of thy cruelty.

BASSANIO.
This isn't an answer, you heartless man,
To justify your cruel behavior.

SHYLOCK.
I am not bound to please thee with my answer.

SHYLOCK.
I'm not obligated to satisfy you with my response.

BASSANIO.
Do all men kill the things they do not love?

BASSANIO.
Do all people destroy the things they don't love?

SHYLOCK.
Hates any man the thing he would not kill?

SHYLOCK.
Does anyone really hate someone they wouldn't want to kill?

BASSANIO.
Every offence is not a hate at first.

BASSANIO.
Not every offense starts from hate.

SHYLOCK.
What, wouldst thou have a serpent sting thee twice?

SHYLOCK.
What, would you let a snake bite you twice?

ANTONIO.
I pray you, think you question with the Jew.
You may as well go stand upon the beach
And bid the main flood bate his usual height;
You may as well use question with the wolf,
Why he hath made the ewe bleat for the lamb;
You may as well forbid the mountain pines
To wag their high tops and to make no noise
When they are fretten with the gusts of heaven;
You may as well do anything most hard
As seek to soften that—than which what’s harder?—
His Jewish heart. Therefore, I do beseech you,
Make no moe offers, use no farther means,
But with all brief and plain conveniency.
Let me have judgment, and the Jew his will.

ANTONIO.
Please, you really think you can reason with the Jew?
You might as well stand on the beach
And tell the tide to stop rising;
You might as well ask the wolf
Why it makes the ewe cry for its lamb;
You might as well tell the mountain pines
To stop swaying and making noise
When the strong winds blow through them;
You might as well try to do anything impossible
As to soften that—actually, what’s harder?—
His Jewish heart. So I ask you,
Make no more offers, use no further methods,
But let’s keep things quick and straightforward.
Let me have judgment, and the Jew his way.

BASSANIO.
For thy three thousand ducats here is six.

BASSANIO.
For your three thousand ducats, here is six.

SHYLOCK.
If every ducat in six thousand ducats
Were in six parts, and every part a ducat,
I would not draw them, I would have my bond.

SHYLOCK.
If every ducat in six thousand ducats
Were split into six parts, and each part a ducat,
I wouldn't take them, I just want what I’m owed.

DUKE.
How shalt thou hope for mercy, rend’ring none?

DUKE.
How can you expect mercy if you show none?

SHYLOCK.
What judgment shall I dread, doing no wrong?
You have among you many a purchas’d slave,
Which, like your asses and your dogs and mules,
You use in abject and in slavish parts,
Because you bought them. Shall I say to you
“Let them be free, marry them to your heirs?
Why sweat they under burdens? Let their beds
Be made as soft as yours, and let their palates
Be season’d with such viands”? You will answer
“The slaves are ours.” So do I answer you:
The pound of flesh which I demand of him
Is dearly bought; ’tis mine and I will have it.
If you deny me, fie upon your law!
There is no force in the decrees of Venice.
I stand for judgment. Answer; shall I have it?

SHYLOCK.
What judgment should I fear, when I've done nothing wrong?
You have many purchased slaves among you,
Who, like your donkeys and dogs and mules,
You treat in a lowly and servile manner,
Because you bought them. Should I say to you
“Let them be free, marry them off to your kids?
Why do they work so hard? Let their beds
Be as soft as yours, and let their meals
Be seasoned just like yours”? You would answer
“The slaves belong to us.” So I respond to you:
The pound of flesh I'm demanding from him
Is well paid for; it’s mine and I will take it.
If you refuse me, shame on your law!
There’s no power in the laws of Venice.
I’m here for a decision. Answer me; will I get it?

DUKE.
Upon my power I may dismiss this court,
Unless Bellario, a learned doctor,
Whom I have sent for to determine this,
Come here today.

DUKE.
By my authority, I can shut down this court,
Unless Bellario, a knowledgeable doctor,
Whom I've called to settle this,
Shows up today.

SALARINO.
My lord, here stays without
A messenger with letters from the doctor,
New come from Padua.

SALARINO.
My lord, there's a messenger outside
with letters from the doctor,
just arrived from Padua.

DUKE.
Bring us the letters. Call the messenger.

DUKE.
Bring us the letters. Call the messenger.

BASSANIO.
Good cheer, Antonio! What, man, courage yet!
The Jew shall have my flesh, blood, bones, and all,
Ere thou shalt lose for me one drop of blood.

BASSANIO.
Cheer up, Antonio! Come on, stay strong!
The Jew can have my flesh, blood, bones, and everything,
Before I let you lose even a single drop of blood for me.

ANTONIO.
I am a tainted wether of the flock,
Meetest for death, the weakest kind of fruit
Drops earliest to the ground, and so let me.
You cannot better be employ’d, Bassanio,
Than to live still, and write mine epitaph.

ANTONIO.
I am a damaged ram of the flock,
Most suited for death; the weakest fruit
Falls to the ground first, and so let me.
You can't find a better use of your time, Bassanio,
Than to keep living and write my epitaph.

Enter Nerissa dressed like a lawyer’s clerk.

Enter Nerissa dressed as a paralegal.

DUKE.
Came you from Padua, from Bellario?

DUKE.
Did you come from Padua, from Bellario?

NERISSA.
From both, my lord. Bellario greets your Grace.

NERISSA.
From both of us, my lord. Bellario sends his regards to your Grace.

[Presents a letter.]

[Presents a letter.]

BASSANIO.
Why dost thou whet thy knife so earnestly?

BASSANIO.
Why are you sharpening your knife so intensely?

SHYLOCK.
To cut the forfeiture from that bankrupt there.

SHYLOCK.
To take the forfeiture from that bankrupt over there.

GRATIANO.
Not on thy sole but on thy soul, harsh Jew,
Thou mak’st thy knife keen. But no metal can,
No, not the hangman’s axe, bear half the keenness
Of thy sharp envy. Can no prayers pierce thee?

GRATIANO.
Not just on your skin but on your soul, harsh Jew,
You sharpen your knife. But no metal can,
Not even the hangman’s axe, match the sharpness
Of your intense envy. Can no prayers reach you?

SHYLOCK.
No, none that thou hast wit enough to make.

SHYLOCK.
No, none that you have the intelligence to create.

GRATIANO.
O, be thou damn’d, inexecrable dog!
And for thy life let justice be accus’d;
Thou almost mak’st me waver in my faith,
To hold opinion with Pythagoras
That souls of animals infuse themselves
Into the trunks of men. Thy currish spirit
Govern’d a wolf who, hang’d for human slaughter,
Even from the gallows did his fell soul fleet,
And whilst thou layest in thy unhallowed dam,
Infus’d itself in thee; for thy desires
Are wolfish, bloody, starv’d and ravenous.

GRATIANO.
Oh, you’re a cursed, despicable dog!
And because of you, may justice be blamed;
You almost make me doubt my beliefs,
And side with Pythagoras
Who said that animal souls enter
The bodies of men. Your beastly spirit
Led a wolf who, hung for murder,
Even from the gallows, let his wicked soul escape,
And while you lay in your unholy nest,
It infused itself in you; for your desires
Are wolfish, bloody, starved, and greedy.

SHYLOCK.
Till thou canst rail the seal from off my bond,
Thou but offend’st thy lungs to speak so loud.
Repair thy wit, good youth, or it will fall
To cureless ruin. I stand here for law.

SHYLOCK.
Until you can remove the seal from my bond,
You're just wasting your breath by speaking so loudly.
Fix your mind, young man, or it will end up in
Irrecoverable ruin. I'm here for the law.

DUKE.
This letter from Bellario doth commend
A young and learned doctor to our court.
Where is he?

DUKE.
This letter from Bellario recommends
A young and educated doctor to our court.
Where is he?

NERISSA.
He attendeth here hard by,
To know your answer, whether you’ll admit him.

NERISSA.
He's waiting close by,
To hear your answer about whether you'll accept him.

DUKE OF VENICE.
With all my heart: some three or four of you
Go give him courteous conduct to this place.
Meantime, the court shall hear Bellario’s letter.

DUKE OF VENICE.
With all my heart: three or four of you
Go give him a warm welcome to this place.
In the meantime, the court will hear Bellario’s letter.

[Reads.] Your Grace shall understand that at the receipt of your letter I am very sick, but in the instant that your messenger came, in loving visitation was with me a young doctor of Rome. His name is Balthazar. I acquainted him with the cause in controversy between the Jew and Antonio the merchant. We turn’d o’er many books together. He is furnished with my opinion, which, bettered with his own learning (the greatness whereof I cannot enough commend), comes with him at my importunity to fill up your Grace’s request in my stead. I beseech you let his lack of years be no impediment to let him lack a reverend estimation, for I never knew so young a body with so old a head. I leave him to your gracious acceptance, whose trial shall better publish his commendation.

[Reads.] Your Grace should know that when I received your letter, I was quite ill, but just as your messenger arrived, I was visited by a young doctor from Rome. His name is Balthazar. I shared with him the issue at hand between the Jew and Antonio the merchant. We went through many books together. He has my thoughts on the matter, enhanced by his own knowledge (which I cannot praise enough), and he has come at my request to address your Grace’s inquiry in my place. I urge you not to let his youth prevent you from giving him the respect he deserves, for I have never met someone so young with such wisdom. I leave him in your gracious hands, and his abilities will speak for his merit.

You hear the learn’d Bellario what he writes,
And here, I take it, is the doctor come.

You hear what the knowledgeable Bellario is writing,
And here, I assume, is the doctor arriving.

Enter Portia dressed like a doctor of laws.

Enter Portia in lawyer attire.

Give me your hand. Come you from old Bellario?

Give me your hand. Are you from old Bellario?

PORTIA.
I did, my lord.

I did, my lord.

DUKE.
You are welcome. Take your place.
Are you acquainted with the difference
That holds this present question in the court?

DUKE.
You're welcome. Please take your seat.
Do you know the difference
That this current question in court depends on?

PORTIA.
I am informed throughly of the cause.
Which is the merchant here? And which the Jew?

PORTIA.
I'm fully informed about the situation.
Which one is the merchant here? And which one is the Jew?

DUKE.
Antonio and old Shylock, both stand forth.

DUKE.
Antonio and old Shylock both step forward.

PORTIA.
Is your name Shylock?

PORTIA.
Is your name Shylock?

SHYLOCK.
Shylock is my name.

SHYLOCK.
My name is Shylock.

PORTIA.
Of a strange nature is the suit you follow,
Yet in such rule that the Venetian law
Cannot impugn you as you do proceed.
[To Antonio.] You stand within his danger, do you not?

PORTIA.
What a peculiar case you're pursuing,
But it’s within the guidelines so that Venetian law
Can't challenge you as you go about it.
[To Antonio.] You’re in a risky position, aren't you?

ANTONIO.
Ay, so he says.

ANTONIO.
Yeah, that's what he says.

PORTIA.
Do you confess the bond?

PORTIA.
Do you admit the bond?

ANTONIO.
I do.

I do.

PORTIA.
Then must the Jew be merciful.

PORTIA.
Then the Jew must show mercy.

SHYLOCK.
On what compulsion must I? Tell me that.

SHYLOCK.
What pressure do I have to do that? Tell me.

PORTIA.
The quality of mercy is not strain’d,
It droppeth as the gentle rain from heaven
Upon the place beneath. It is twice blest,
It blesseth him that gives and him that takes.
’Tis mightiest in the mightiest; it becomes
The throned monarch better than his crown.
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But mercy is above this sceptred sway,
It is enthroned in the hearts of kings,
It is an attribute to God himself;
And earthly power doth then show likest God’s
When mercy seasons justice. Therefore, Jew,
Though justice be thy plea, consider this,
That in the course of justice none of us
Should see salvation. We do pray for mercy,
And that same prayer doth teach us all to render
The deeds of mercy. I have spoke thus much
To mitigate the justice of thy plea,
Which if thou follow, this strict court of Venice
Must needs give sentence ’gainst the merchant there.

PORTIA.
The quality of mercy isn’t forced,
It falls like gentle rain from heaven
On the ground below. It’s doubly blessed,
It blesses both the giver and the receiver.
It’s strongest in the strongest; it suits
The crowned monarch better than his crown.
His scepter shows the power of earthly authority,
The ability to inspire awe and majesty,
Where the fear and dread of kings reside;
But mercy is above this royal power,
It’s seated in the hearts of kings,
It’s a quality of God himself;
And worldly power is most like God’s
When mercy tempers justice. So, Jew,
Though justice is your argument, think about this,
That in the pursuit of justice, none of us
Would find salvation. We pray for mercy,
And that same prayer teaches us all to perform
Acts of mercy. I’ve said this much
To soften the harshness of your case,
Which if you pursue, this strict court of Venice
Must inevitably rule against the merchant there.

SHYLOCK.
My deeds upon my head! I crave the law,
The penalty and forfeit of my bond.

SHYLOCK.
I take full responsibility for my actions! I demand the law,
The punishment and the penalty of my contract.

PORTIA.
Is he not able to discharge the money?

PORTIA.
Is he unable to pay the money?

BASSANIO.
Yes, here I tender it for him in the court,
Yea, twice the sum, if that will not suffice,
I will be bound to pay it ten times o’er
On forfeit of my hands, my head, my heart.
If this will not suffice, it must appear
That malice bears down truth. And I beseech you,
Wrest once the law to your authority.
To do a great right, do a little wrong,
And curb this cruel devil of his will.

BASSANIO.
Yes, I'm offering it here for him in court,
Even double the amount, if that won't be enough,
I’ll agree to pay it ten times over
At the cost of my hands, my head, my heart.
If this isn’t enough, it will show
That malice is defeating truth. And I ask you,
Bend the law to fit your authority.
To achieve a great right, sometimes you have to do a little wrong,
And tame this cruel devil of his desires.

PORTIA.
It must not be, there is no power in Venice
Can alter a decree established;
’Twill be recorded for a precedent,
And many an error by the same example
Will rush into the state. It cannot be.

PORTIA.
It can't be; there's no authority in Venice
That can change an established decree;
It will be noted as a precedent,
And many mistakes will follow the same example
Will flood the state. It can't happen.

SHYLOCK.
A Daniel come to judgment! Yea, a Daniel!
O wise young judge, how I do honour thee!

SHYLOCK.
A Daniel has come to judgment! Yes, a Daniel!
Oh wise young judge, how I honor you!

PORTIA.
I pray you let me look upon the bond.

PORTIA.
Please let me see the bond.

SHYLOCK.
Here ’tis, most reverend doctor, here it is.

SHYLOCK.
Here it is, most respected doctor, here it is.

PORTIA.
Shylock, there’s thrice thy money offered thee.

PORTIA.
Shylock, there’s three times your money offered to you.

SHYLOCK.
An oath, an oath! I have an oath in heaven.
Shall I lay perjury upon my soul?
No, not for Venice.

SHYLOCK.
An oath, an oath! I have an oath in heaven.
Should I bring perjury upon my soul?
No, not for Venice.

PORTIA.
Why, this bond is forfeit,
And lawfully by this the Jew may claim
A pound of flesh, to be by him cut off
Nearest the merchant’s heart. Be merciful,
Take thrice thy money; bid me tear the bond.

PORTIA.
This bond is now void,
And legally, the Jew can claim
A pound of flesh, to be cut off
Nearest the merchant’s heart. Be merciful,
Take three times your money; tell me to tear up the bond.

SHYLOCK.
When it is paid according to the tenour.
It doth appear you are a worthy judge;
You know the law; your exposition
Hath been most sound. I charge you by the law,
Whereof you are a well-deserving pillar,
Proceed to judgment. By my soul I swear
There is no power in the tongue of man
To alter me. I stay here on my bond.

SHYLOCK.
When it's paid according to the terms.
It seems you are a worthy judge;
You know the law; your explanation
Has been very solid. I urge you by the law,
Of which you are a deserving pillar,
To proceed with the judgment. I swear by my soul
There’s no power in a man’s words
That can change my mind. I stand firm on my bond.

ANTONIO.
Most heartily I do beseech the court
To give the judgment.

ANTONIO.
I sincerely ask the court
To deliver the judgment.

PORTIA.
Why then, thus it is:
You must prepare your bosom for his knife.

PORTIA.
Well, here it is:
You need to get ready for his knife.

SHYLOCK.
O noble judge! O excellent young man!

SHYLOCK.
Oh, noble judge! Oh, outstanding young man!

PORTIA.
For the intent and purpose of the law
Hath full relation to the penalty,
Which here appeareth due upon the bond.

PORTIA.
For the purpose of the law
Relates directly to the penalty,
Which is due based on the bond here.

SHYLOCK.
’Tis very true. O wise and upright judge,
How much more elder art thou than thy looks!

SHYLOCK.
It’s very true. Oh wise and fair judge,
How much older are you than you appear!

PORTIA.
Therefore lay bare your bosom.

PORTIA.
So show your chest.

SHYLOCK.
Ay, his breast
So says the bond, doth it not, noble judge?
“Nearest his heart”: those are the very words.

SHYLOCK.
Yeah, his chest
So says the bond, right, noble judge?
“Nearest his heart”: those are the exact words.

PORTIA.
It is so. Are there balance here to weigh
The flesh?

PORTIA.
It is true. Is there a scale here to weigh
the flesh?

SHYLOCK.
I have them ready.

SHYLOCK.
I’ve got them ready.

PORTIA.
Have by some surgeon, Shylock, on your charge,
To stop his wounds, lest he do bleed to death.

PORTIA.
Get a surgeon, Shylock, at your expense,
To treat his wounds, or he might bleed to death.

SHYLOCK.
Is it so nominated in the bond?

SHYLOCK.
Is that how it's stated in the contract?

PORTIA.
It is not so express’d, but what of that?
’Twere good you do so much for charity.

PORTIA.
It’s not stated clearly, but so what?
It would be good for you to do that much for charity.

SHYLOCK.
I cannot find it; ’tis not in the bond.

SHYLOCK.
I can't find it; it’s not in the contract.

PORTIA.
You, merchant, have you anything to say?

PORTIA.
You, merchant, do you have something to say?

ANTONIO.
But little. I am arm’d and well prepar’d.
Give me your hand, Bassanio. Fare you well,
Grieve not that I am fallen to this for you,
For herein Fortune shows herself more kind
Than is her custom: it is still her use
To let the wretched man outlive his wealth,
To view with hollow eye and wrinkled brow
An age of poverty, from which ling’ring penance
Of such misery doth she cut me off.
Commend me to your honourable wife,
Tell her the process of Antonio’s end,
Say how I lov’d you, speak me fair in death.
And when the tale is told, bid her be judge
Whether Bassanio had not once a love.
Repent but you that you shall lose your friend
And he repents not that he pays your debt.
For if the Jew do cut but deep enough,
I’ll pay it instantly with all my heart.

ANTONIO.
But a little. I'm armed and ready.
Give me your hand, Bassanio. Take care,
Don’t feel bad that I’ve come to this for you,
For in this, Fortune shows herself kinder
Than she usually does: it’s usually her way
To let the miserable man outlive his riches,
To look on with hollow eyes and a wrinkled brow
At a life of poverty, but she’s cutting me off
From such a lingering suffering.
Send my regards to your honorable wife,
Tell her the story of Antonio’s end,
Say how I loved you, speak kindly of me in death.
And when the story is told, let her judge
Whether Bassanio ever truly loved.
Regret only that you will lose your friend
And I do not regret paying your debt.
Because if the Jew cuts me deep enough,
I’ll pay it right away with all my heart.

BASSANIO.
Antonio, I am married to a wife
Which is as dear to me as life itself,
But life itself, my wife, and all the world,
Are not with me esteem’d above thy life.
I would lose all, ay, sacrifice them all
Here to this devil, to deliver you.

BASSANIO.
Antonio, I'm married to a wife
Who is as precious to me as my own life,
But life, my wife, and everything else,
Are not valued more than your life.
I would give up everything, yes, sacrifice it all
Here to this devil, to save you.

PORTIA.
Your wife would give you little thanks for that
If she were by to hear you make the offer.

PORTIA.
Your wife wouldn't appreciate that much
If she were here to hear you make the offer.

GRATIANO.
I have a wife who I protest I love.
I would she were in heaven, so she could
Entreat some power to change this currish Jew.

GRATIANO.
I have a wife whom I genuinely love.
I wish she were in heaven, so she could
Ask some higher power to change this annoying Jew.

NERISSA.
’Tis well you offer it behind her back,
The wish would make else an unquiet house.

NERISSA.
It’s good you offer it without her knowing,
Otherwise, the wish would create a tense atmosphere.

SHYLOCK.
These be the Christian husbands! I have a daughter—
Would any of the stock of Barabbas
Had been her husband, rather than a Christian!
We trifle time, I pray thee, pursue sentence.

SHYLOCK.
These are the Christian husbands! I have a daughter—
I wish any of Barabbas's descendants
Had been her husband instead of a Christian!
We're wasting time, please, let's get on with the sentence.

PORTIA.
A pound of that same merchant’s flesh is thine,
The court awards it and the law doth give it.

PORTIA.
You get a pound of that same merchant's flesh,
The court has granted it, and the law gives it to you.

SHYLOCK.
Most rightful judge!

SHYLOCK.
Most just judge!

PORTIA.
And you must cut this flesh from off his breast.
The law allows it and the court awards it.

PORTIA.
And you have to take this flesh off his chest.
The law permits it, and the court orders it.

SHYLOCK.
Most learned judge! A sentence! Come, prepare.

SHYLOCK.
Most knowledgeable judge! A verdict! Come on, get ready.

PORTIA.
Tarry a little, there is something else.
This bond doth give thee here no jot of blood.
The words expressly are “a pound of flesh”:
Take then thy bond, take thou thy pound of flesh,
But in the cutting it, if thou dost shed
One drop of Christian blood, thy lands and goods
Are, by the laws of Venice, confiscate
Unto the state of Venice.

PORTIA.
Wait a moment, there’s something else.
This bond doesn’t allow you to take even a drop of blood.
The words clearly say “a pound of flesh”:
So take your bond, take your pound of flesh,
But if you spill
Even one drop of Christian blood while cutting it,
Your lands and possessions
Will be confiscated
By the laws of Venice.

GRATIANO.
O upright judge! Mark, Jew. O learned judge!

GRATIANO.
Oh, just judge! Listen, Jew. Oh, wise judge!

SHYLOCK.
Is that the law?

SHYLOCK.
Is that really the law?

PORTIA.
Thyself shalt see the act.
For, as thou urgest justice, be assur’d
Thou shalt have justice more than thou desir’st.

PORTIA.
You will see the outcome yourself.
For, as you demand justice, be assured
You will receive justice greater than you desire.

GRATIANO.
O learned judge! Mark, Jew, a learned judge!

GRATIANO.
Oh educated judge! Look, Jew, an educated judge!

SHYLOCK.
I take this offer then. Pay the bond thrice
And let the Christian go.

SHYLOCK.
I accept this offer. Pay the bond three times
And let the Christian go.

BASSANIO.
Here is the money.

BASSANIO.
Here’s the money.

PORTIA.
Soft!
The Jew shall have all justice. Soft! no haste!
He shall have nothing but the penalty.

PORTIA.
Wait!
The Jew will get all the justice he deserves. Wait! No rush!
He will receive nothing but the penalty.

GRATIANO.
O Jew, an upright judge, a learned judge!

GRATIANO.
Oh Jew, a fair judge, a knowledgeable judge!

PORTIA.
Therefore prepare thee to cut off the flesh.
Shed thou no blood, nor cut thou less nor more,
But just a pound of flesh: if thou tak’st more
Or less than a just pound, be it but so much
As makes it light or heavy in the substance,
Or the division of the twentieth part
Of one poor scruple, nay, if the scale do turn
But in the estimation of a hair,
Thou diest, and all thy goods are confiscate.

PORTIA.
So get ready to take the flesh.
Do not shed any blood, and do not cut less or more,
Just exactly a pound of flesh: if you take more
Or less than that, even if it’s just enough
To make it lighter or heavier in weight,
Or just a tiny fraction of a twenty-part
Of one little scruple, no, if the scale tips
Even by the smallest amount,
You will die, and all your possessions will be confiscated.

GRATIANO.
A second Daniel, a Daniel, Jew!
Now, infidel, I have you on the hip.

GRATIANO.
A second Daniel, a Daniel, Jew!
Now, nonbeliever, I have you cornered.

PORTIA.
Why doth the Jew pause? Take thy forfeiture.

PORTIA.
Why is the Jew hesitating? Go ahead and take your penalty.

SHYLOCK.
Give me my principal, and let me go.

SHYLOCK.
Give me my principal back, and let me leave.

BASSANIO.
I have it ready for thee. Here it is.

BASSANIO.
I have it ready for you. Here it is.

PORTIA.
He hath refus’d it in the open court,
He shall have merely justice and his bond.

PORTIA.
He refused it in open court,
He will only receive justice and his bond.

GRATIANO.
A Daniel still say I, a second Daniel!
I thank thee, Jew, for teaching me that word.

GRATIANO.
I still say, a Daniel! A second Daniel!
Thank you, Jew, for teaching me that word.

SHYLOCK.
Shall I not have barely my principal?

SHYLOCK.
Am I not entitled to just my principal amount?

PORTIA.
Thou shalt have nothing but the forfeiture
To be so taken at thy peril, Jew.

PORTIA.
You will get nothing but the forfeiture
If you go through with this, Jew.

SHYLOCK.
Why, then the devil give him good of it!
I’ll stay no longer question.

SHYLOCK.
Well, then let the devil give him something good out of it!
I won't stay and discuss this any longer.

PORTIA.
Tarry, Jew.
The law hath yet another hold on you.
It is enacted in the laws of Venice,
If it be proved against an alien
That by direct or indirect attempts
He seek the life of any citizen,
The party ’gainst the which he doth contrive
Shall seize one half his goods; the other half
Comes to the privy coffer of the state,
And the offender’s life lies in the mercy
Of the Duke only, ’gainst all other voice.
In which predicament I say thou stand’st;
For it appears by manifest proceeding
That indirectly, and directly too,
Thou hast contrived against the very life
Of the defendant; and thou hast incurr’d
The danger formerly by me rehears’d.
Down, therefore, and beg mercy of the Duke.

PORTIA.
Wait, Jew.
The law still has another hold on you.
It’s stated in the laws of Venice,
If it's shown that a foreigner
Has tried directly or indirectly
To end the life of any citizen,
The person they conspire against
Shall take half of their belongings; the other half
Goes to the state’s treasury,
And the offender’s life is at the mercy
Of the Duke alone, above all others.
In this situation, I say you stand;
For it’s clear from the evidence
That both directly and indirectly,
You have plotted against the very life
Of the defendant; and you have incurred
The danger I mentioned before.
So, fall down and beg for mercy from the Duke.

GRATIANO.
Beg that thou mayst have leave to hang thyself,
And yet, thy wealth being forfeit to the state,
Thou hast not left the value of a cord;
Therefore thou must be hang’d at the state’s charge.

GRATIANO.
I suggest you ask for permission to hang yourself,
But since your wealth has been taken by the state,
You don't even have enough for a rope;
So, you'll have to be hanged at the state’s expense.

DUKE.
That thou shalt see the difference of our spirit,
I pardon thee thy life before thou ask it.
For half thy wealth, it is Antonio’s;
The other half comes to the general state,
Which humbleness may drive unto a fine.

DUKE.
You're about to see how different we are,
I forgive you your life before you even ask.
Half of your wealth belongs to Antonio;
The other half goes to the public,
Which your humility might turn into a fine.

PORTIA.
Ay, for the state, not for Antonio.

PORTIA.
Yeah, for the state, not for Antonio.

SHYLOCK.
Nay, take my life and all, pardon not that.
You take my house when you do take the prop
That doth sustain my house; you take my life
When you do take the means whereby I live.

SHYLOCK.
No, take my life and everything, just don’t hold back on that.
You take my house when you take away the thing
That supports my house; you take my life
When you take away the means by which I live.

PORTIA.
What mercy can you render him, Antonio?

PORTIA.
What kindness can you show him, Antonio?

GRATIANO.
A halter gratis, nothing else, for God’s sake!

GRATIANO.
A free halter, nothing more, for goodness' sake!

ANTONIO.
So please my lord the Duke and all the court
To quit the fine for one half of his goods,
I am content, so he will let me have
The other half in use, to render it
Upon his death unto the gentleman
That lately stole his daughter.
Two things provided more, that for this favour,
He presently become a Christian;
The other, that he do record a gift,
Here in the court, of all he dies possess’d
Unto his son Lorenzo and his daughter.

ANTONIO.
So, if it pleases my lord the Duke and everyone here,
To forgive the fine for half of his goods,
I’m okay with that, as long as I can keep
The other half to use, to give it back
Upon his death to the guy
Who recently took his daughter.
Two more conditions: first, that he becomes a Christian right away;
Second, that he officially records a gift,
Here in court, of everything he owns
To his son Lorenzo and his daughter.

DUKE.
He shall do this, or else I do recant
The pardon that I late pronounced here.

DUKE.
He'll either do this, or I take back
The pardon I just granted here.

PORTIA.
Art thou contented, Jew? What dost thou say?

PORTIA.
Are you satisfied, Jew? What do you say?

SHYLOCK.
I am content.

SHYLOCK.
I'm satisfied.

PORTIA.
Clerk, draw a deed of gift.

PORTIA.
Clerk, prepare a deed of gift.

SHYLOCK.
I pray you give me leave to go from hence;
I am not well; send the deed after me
And I will sign it.

SHYLOCK.
Please let me leave this place;
I’m not feeling well; send the document after me
And I’ll sign it.

DUKE.
Get thee gone, but do it.

DUKE.
Leave now, but make sure you do it.

GRATIANO.
In christ’ning shalt thou have two god-fathers.
Had I been judge, thou shouldst have had ten more,
To bring thee to the gallows, not to the font.

GRATIANO.
When you're baptized, you'll have two godfathers.
If I were the judge, you'd have ten more,
To lead you to the gallows, not to the baptismal font.

[Exit Shylock.]

[Exit Shylock.]

DUKE.
Sir, I entreat you home with me to dinner.

DUKE.
Sir, I ask you to come home with me for dinner.

PORTIA.
I humbly do desire your Grace of pardon,
I must away this night toward Padua,
And it is meet I presently set forth.

PORTIA.
I respectfully ask for your Grace's forgiveness,
I have to leave tonight for Padua,
And it's important that I set off right away.

DUKE.
I am sorry that your leisure serves you not.
Antonio, gratify this gentleman,
For in my mind you are much bound to him.

DUKE.
I’m sorry that you don’t have time to relax.
Antonio, please do this favor for him,
Because I believe you owe him a lot.

[Exeunt Duke and his train.]

[Duke and his group exit.]

BASSANIO.
Most worthy gentleman, I and my friend
Have by your wisdom been this day acquitted
Of grievous penalties, in lieu whereof,
Three thousand ducats due unto the Jew
We freely cope your courteous pains withal.

BASSANIO.
Most honorable sir, my friend and I
Have been relieved today from serious penalties, thanks to your wisdom,
In place of which,
We are gladly offering three thousand ducats owed to the Jew
As a gesture of our appreciation for your kind efforts.

ANTONIO.
And stand indebted, over and above
In love and service to you evermore.

ANTONIO.
And be in debt, on top of it all,
In love and service to you forever.

PORTIA.
He is well paid that is well satisfied,
And I delivering you, am satisfied,
And therein do account myself well paid,
My mind was never yet more mercenary.
I pray you know me when we meet again,
I wish you well, and so I take my leave.

PORTIA.
He's well compensated who is truly happy,
And by delivering you, I feel content,
And because of that, I consider myself rewarded,
I've never been more driven by money.
I hope you remember me when we see each other again,
I wish you all the best, and now I say goodbye.

BASSANIO.
Dear sir, of force I must attempt you further.
Take some remembrance of us as a tribute,
Not as fee. Grant me two things, I pray you,
Not to deny me, and to pardon me.

BASSANIO.
Dear sir, I must insist on troubling you a bit more.
Please accept this small keepsake from us as a gesture of appreciation,
Not as payment. I ask you for two things, please,
To not refuse my request and to forgive me.

PORTIA.
You press me far, and therefore I will yield.
[To Antonio.] Give me your gloves, I’ll wear them for your sake.
[To Bassanio.] And, for your love, I’ll take this ring from you.
Do not draw back your hand; I’ll take no more,
And you in love shall not deny me this.

PORTIA.
You’re pushing me too much, so I’ll give in.
[To Antonio.] Give me your gloves; I’ll wear them for you.
[To Bassanio.] And because I love you, I’ll take this ring from you.
Don’t pull your hand away; I won’t ask for anything else,
And you, in love, can’t refuse me this.

BASSANIO.
This ring, good sir? Alas, it is a trifle,
I will not shame myself to give you this.

BASSANIO.
This ring, sir? Oh no, it’s just a small thing,
I won’t embarrass myself by giving you this.

PORTIA.
I will have nothing else but only this,
And now methinks I have a mind to it.

PORTIA.
I want nothing else but this,
And now I think I'm set on it.

BASSANIO.
There’s more depends on this than on the value.
The dearest ring in Venice will I give you,
And find it out by proclamation,
Only for this I pray you pardon me.

BASSANIO.
There’s more at stake here than just the value.
I’ll give you the most precious ring in Venice,
And I’ll announce it publicly,
Just for this, I ask you to forgive me.

PORTIA.
I see, sir, you are liberal in offers.
You taught me first to beg, and now methinks
You teach me how a beggar should be answer’d.

PORTIA.
I see, sir, you’re generous with your offers.
You were the one who taught me to beg, and now it seems
You’re showing me how a beggar should be responded to.

BASSANIO.
Good sir, this ring was given me by my wife,
And when she put it on, she made me vow
That I should neither sell, nor give, nor lose it.

BASSANIO.
Good sir, this ring was given to me by my wife,
And when she put it on, she made me promise
That I would neither sell it, give it away, nor lose it.

PORTIA.
That ’scuse serves many men to save their gifts.
And if your wife be not a mad-woman,
And know how well I have deserv’d this ring,
She would not hold out enemy for ever
For giving it to me. Well, peace be with you!

PORTIA.
That excuse helps a lot of men keep their gifts.
And if your wife isn’t insane,
And understands how well I deserve this ring,
She wouldn’t stay an enemy forever
For giving it to me. Well, peace be with you!

[Exeunt Portia and Nerissa.]

[Exit Portia and Nerissa.]

ANTONIO.
My Lord Bassanio, let him have the ring.
Let his deservings and my love withal
Be valued ’gainst your wife’s commandment.

ANTONIO.
My Lord Bassanio, let him have the ring.
Let his worth and my love be weighed against your wife's command.

BASSANIO.
Go, Gratiano, run and overtake him;
Give him the ring, and bring him if thou canst
Unto Antonio’s house. Away, make haste.

BASSANIO.
Go, Gratiano, hurry and catch up with him;
Give him the ring, and try to bring him
To Antonio’s house. Quickly, move fast.

[Exit Gratiano.]

[Exit Gratiano.]

Come, you and I will thither presently,
And in the morning early will we both
Fly toward Belmont. Come, Antonio.

Come on, you and I will go there right away,
And early in the morning we will both
Head toward Belmont. Come on, Antonio.

[Exeunt.]

[Exit.]

SCENE II. The same. A street.

Enter Portia and Nerissa.

Enter Portia and Nerissa.

PORTIA.
Inquire the Jew’s house out, give him this deed,
And let him sign it, we’ll away tonight,
And be a day before our husbands home.
This deed will be well welcome to Lorenzo.

PORTIA.
Find out where the Jew lives, give him this document,
And let him sign it. We’ll leave tonight,
And arrive a day before our husbands come home.
Lorenzo will be glad to receive this document.

Enter Gratiano.

Enter Gratiano.

GRATIANO.
Fair sir, you are well o’erta’en.
My Lord Bassanio upon more advice,
Hath sent you here this ring, and doth entreat
Your company at dinner.

GRATIANO.
Good sir, you look a bit overwhelmed.
My Lord Bassanio, after giving it more thought,
Has sent you this ring and requests
Your presence at dinner.

PORTIA.
That cannot be;
His ring I do accept most thankfully,
And so I pray you tell him. Furthermore,
I pray you show my youth old Shylock’s house.

PORTIA.
That can’t be;
I gladly accept his ring,
And I ask you to tell him. Also,
Please show my young friend Shylock’s house.

GRATIANO.
That will I do.

Sure, I’ll do that.

NERISSA.
Sir, I would speak with you.
[Aside to Portia.]
I’ll see if I can get my husband’s ring,
Which I did make him swear to keep for ever.

NERISSA.
Sir, I need to talk to you.
[Aside to Portia.]
I’ll see if I can get my husband’s ring,
Which I made him promise to keep forever.

PORTIA.
[To Nerissa.] Thou mayst, I warrant. We shall have old swearing
That they did give the rings away to men;
But we’ll outface them, and outswear them too.
Away! make haste! Thou know’st where I will tarry.

PORTIA.
[To Nerissa.] I’m sure you can. We’ll have the old argument
That they gave the rings to men;
But we’ll stand our ground and out-debate them too.
Come on! Hurry up! You know where I’ll be waiting.

NERISSA.
Come, good sir, will you show me to this house?

NERISSA.
Come on, good sir, will you take me to this house?

[Exeunt.]

[Exit.]

ACT V

SCENE I. Belmont. The avenue to Portia’s house.

Enter Lorenzo and Jessica.

Enter Lorenzo and Jessica.

LORENZO.
The moon shines bright. In such a night as this,
When the sweet wind did gently kiss the trees,
And they did make no noise, in such a night,
Troilus methinks mounted the Trojan walls,
And sigh’d his soul toward the Grecian tents
Where Cressid lay that night.

LORENZO.
The moon is shining brightly. On a night like this,
When the gentle wind softly caresses the trees,
And they make no sound, on a night like this,
Troilus, it seems to me, climbed the Trojan walls,
And sighed his heart out toward the Greek tents
Where Cressid was that night.

JESSICA.
In such a night
Did Thisbe fearfully o’ertrip the dew,
And saw the lion’s shadow ere himself,
And ran dismay’d away.

JESSICA.
On a night like this,
Thisbe nervously crossed the dew,
And spotted the lion's shadow before seeing the lion himself,
And ran away in fear.

LORENZO.
In such a night
Stood Dido with a willow in her hand
Upon the wild sea-banks, and waft her love
To come again to Carthage.

LORENZO.
On a night like this
Dido stood with a willow in her hand
On the wild shore, and sent her love
A signal to return to Carthage.

JESSICA.
In such a night
Medea gathered the enchanted herbs
That did renew old Æson.

JESSICA.
On a night like this
Medea collected the magical herbs
That rejuvenated old Æson.

LORENZO.
In such a night
Did Jessica steal from the wealthy Jew,
And with an unthrift love did run from Venice
As far as Belmont.

LORENZO.
On a night like this
Jessica stole away from the rich Jew,
And with a reckless love ran from Venice
All the way to Belmont.

JESSICA.
In such a night
Did young Lorenzo swear he loved her well,
Stealing her soul with many vows of faith,
And ne’er a true one.

JESSICA.
On a night like this
Young Lorenzo promised he loved her deeply,
Taking her heart with countless promises,
Yet not a single one was genuine.

LORENZO.
In such a night
Did pretty Jessica, like a little shrew,
Slander her love, and he forgave it her.

LORENZO.
On a night like this
Pretty Jessica, like a little firecracker,
Badmouthed her love, and he let it go.

JESSICA.
I would out-night you did no body come;
But hark, I hear the footing of a man.

JESSICA.
I would bet you didn't see anyone come;
But wait, I hear the steps of a man.

Enter Stephano.

Enter Stephano.

LORENZO.
Who comes so fast in silence of the night?

LORENZO.
Who’s coming in so quickly during the quiet of the night?

STEPHANO.
A friend.

STEPHANO.
A buddy.

LORENZO.
A friend! What friend? Your name, I pray you, friend?

LORENZO.
A friend! Which friend? What's your name, if you don't mind me asking?

STEPHANO.
Stephano is my name, and I bring word
My mistress will before the break of day
Be here at Belmont. She doth stray about
By holy crosses where she kneels and prays
For happy wedlock hours.

STEPHANO.
My name is Stephano, and I’ve come to tell you
That my mistress will be here at Belmont
Before the break of day. She wanders around
By holy crosses, where she kneels and prays
For a happy marriage.

LORENZO.
Who comes with her?

LORENZO.
Who’s with her?

STEPHANO.
None but a holy hermit and her maid.
I pray you is my master yet return’d?

STEPHANO.
Only a holy hermit and her maid are here.
Can you tell me if my master has returned yet?

LORENZO.
He is not, nor we have not heard from him.
But go we in, I pray thee, Jessica,
And ceremoniously let us prepare
Some welcome for the mistress of the house.

LORENZO.
He's not here, and we haven't heard from him.
But let's go inside, please, Jessica,
And let's get ready
A proper welcome for the lady of the house.

Enter Launcelet.

Enter Launcelet.

LAUNCELET.
Sola, sola! wo ha, ho! sola, sola!

LAUNCELET.
Alone, alone! Whoa, hey! Alone, alone!

LORENZO.
Who calls?

LORENZO.
Who's there?

LAUNCELET.
Sola! Did you see Master Lorenzo? Master Lorenzo! Sola, sola!

LAUNCELET.
Solo! Did you see Master Lorenzo? Master Lorenzo! Solo, solo!

LORENZO.
Leave holloaing, man. Here!

LORENZO.
Stop shouting, man. Here!

LAUNCELET.
Sola! Where, where?

LAUNCELET.
Sola! Where are you?

LORENZO.
Here!

LORENZO.
I'm here!

LAUNCELET.
Tell him there’s a post come from my master with his horn full of good news. My master will be here ere morning.

LAUNCELET.
Tell him there's a message from my boss with great news. My boss will be here before morning.

[Exit.]

[Leave.]

LORENZO.
Sweet soul, let’s in, and there expect their coming.
And yet no matter; why should we go in?
My friend Stephano, signify, I pray you,
Within the house, your mistress is at hand,
And bring your music forth into the air.

LORENZO.
Sweetheart, let’s go inside and wait for them.
But still, why should we go in?
My friend Stephano, please let them know,
That your lady is here,
And bring your music out into the open.

[Exit Stephano.]

[Exit Stephano.]

How sweet the moonlight sleeps upon this bank!
Here will we sit and let the sounds of music
Creep in our ears; soft stillness and the night
Become the touches of sweet harmony.
Sit, Jessica. Look how the floor of heaven
Is thick inlaid with patens of bright gold.
There’s not the smallest orb which thou behold’st
But in his motion like an angel sings,
Still quiring to the young-eyed cherubins;
Such harmony is in immortal souls,
But whilst this muddy vesture of decay
Doth grossly close it in, we cannot hear it.

How lovely the moonlight rests on this bank!
Let’s sit here and let the music
Fill our ears; the soft stillness and the night
Become the soothing touches of sweet harmony.
Sit, Jessica. Look at how the floor of heaven
Is richly inlaid with plates of bright gold.
There’s not a single orb that you see
That doesn’t move like an angel sings,
Always harmonizing with the young-eyed cherubs;
Such harmony exists in immortal souls,
But while this muddy covering of decay
Holds it down, we can’t hear it.

Enter Musicians.

Enter Artists.

Come, ho! and wake Diana with a hymn.
With sweetest touches pierce your mistress’ ear,
And draw her home with music.

Come on, let’s wake Diana with a song.
With the sweetest notes, reach your mistress’ ears,
And bring her home with music.

[Music.]

[Music.]

JESSICA.
I am never merry when I hear sweet music.

JESSICA.
I never feel happy when I hear sweet music.

LORENZO.
The reason is, your spirits are attentive.
For do but note a wild and wanton herd
Or race of youthful and unhandled colts,
Fetching mad bounds, bellowing and neighing loud,
Which is the hot condition of their blood,
If they but hear perchance a trumpet sound,
Or any air of music touch their ears,
You shall perceive them make a mutual stand,
Their savage eyes turn’d to a modest gaze
By the sweet power of music: therefore the poet
Did feign that Orpheus drew trees, stones, and floods,
Since naught so stockish, hard, and full of rage,
But music for the time doth change his nature.
The man that hath no music in himself,
Nor is not mov’d with concord of sweet sounds,
Is fit for treasons, stratagems, and spoils;
The motions of his spirit are dull as night,
And his affections dark as Erebus.
Let no such man be trusted. Mark the music.

LORENZO.
The reason is that your spirits are engaged.
Just notice a wild and unruly group
Or a bunch of young, untamed colts,
Bounding wildly, bellowing and neighing loudly,
Which shows the fiery nature of their blood.
If they happen to hear a trumpet sound,
Or any piece of music touches their ears,
You’ll see them pause together,
Their fierce eyes transformed into a gentle gaze
By the sweet influence of music: that’s why the poet
Imagined that Orpheus could charm trees, stones, and rivers,
For nothing so stubborn, hard, and full of rage,
Can resist the changing power of music.
A man who has no music in himself,
And isn’t moved by harmonious sounds,
Is fit for betrayal, schemes, and plunder;
His spirit is as dull as night,
And his feelings dark as the underworld.
Don’t trust such a man. Pay attention to the music.

Enter Portia and Nerissa.

Enter Portia and Nerissa.

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

PORTIA.
That light we're seeing is shining in my hall.
Look how far that little candle spreads its glow!
A good deed shines brightly in a wicked world.

NERISSA.
When the moon shone we did not see the candle.

NERISSA.
When the moon was shining, we couldn't see the candle.

PORTIA.
So doth the greater glory dim the less.
A substitute shines brightly as a king
Until a king be by, and then his state
Empties itself, as doth an inland brook
Into the main of waters. Music! hark!

PORTIA.
So the greater glory dims the lesser.
A substitute shines brilliantly like a king
Until a king is present, and then its status
Drains away, like an inland stream
Into the ocean's expanse. Music! Listen!

NERISSA.
It is your music, madam, of the house.

NERISSA.
It's your music, ma'am, from the house.

PORTIA.
Nothing is good, I see, without respect.
Methinks it sounds much sweeter than by day.

PORTIA.
I see that nothing is good without respect.
It seems to me that it sounds much sweeter at night than during the day.

NERISSA.
Silence bestows that virtue on it, madam.

NERISSA.
Silence gives it that quality, ma'am.

PORTIA.
The crow doth sing as sweetly as the lark
When neither is attended; and I think
The nightingale, if she should sing by day
When every goose is cackling, would be thought
No better a musician than the wren.
How many things by season season’d are
To their right praise and true perfection!
Peace! How the moon sleeps with Endymion,
And would not be awak’d!

PORTIA.
A crow sings just as sweetly as a lark
When no one is paying attention; and I think
The nightingale, if she were to sing during the day
When every goose is cackling, would be seen
As no better a musician than the wren.
So many things are truly appreciated and reach
Their full perfection in the right season!
Shh! Look how the moon sleeps with Endymion,
And doesn’t want to be disturbed!

[Music ceases.]

[Music stops.]

LORENZO.
That is the voice,
Or I am much deceiv’d, of Portia.

LORENZO.
That's Portia's voice,
Unless I'm completely mistaken.

PORTIA.
He knows me as the blind man knows the cuckoo,
By the bad voice.

PORTIA.
He knows me like a blind person knows the cuckoo,
By its bad call.

LORENZO.
Dear lady, welcome home.

Lorenzo.
Welcome home, dear lady.

PORTIA.
We have been praying for our husbands’ welfare,
Which speed, we hope, the better for our words.
Are they return’d?

PORTIA.
We’ve been praying for our husbands’ well-being,
Hoping that will help our words come true.
Have they returned?

LORENZO.
Madam, they are not yet;
But there is come a messenger before
To signify their coming.

LORENZO.
Ma'am, they aren't here yet;
But a messenger has arrived ahead
To let us know they’re on their way.

PORTIA.
Go in, Nerissa.
Give order to my servants, that they take
No note at all of our being absent hence,
Nor you, Lorenzo; Jessica, nor you.

PORTIA.
Go ahead, Nerissa.
Tell my servants not to notice that we are away,
And you too, Lorenzo; Jessica, you don't need to worry either.

[A tucket sounds.]

A horn sounds.

LORENZO.
Your husband is at hand, I hear his trumpet.
We are no tell-tales, madam, fear you not.

LORENZO.
Your husband is nearby; I can hear his trumpet.
We're not gossiping, ma'am, so don't worry.

PORTIA.
This night methinks is but the daylight sick,
It looks a little paler. ’Tis a day
Such as the day is when the sun is hid.

PORTIA.
Tonight, I feel like the daylight is sick,
It seems a bit paler. It’s a day
Like the kind of day when the sun is hidden.

Enter Bassanio, Antonio, Gratiano and their Followers.

Enter Bassanio, Antonio, Gratiano and their crew.

BASSANIO.
We should hold day with the Antipodes,
If you would walk in absence of the sun.

BASSANIO.
We should spend the day with the Antipodes,
If you want to walk without the sun.

PORTIA.
Let me give light, but let me not be light,
For a light wife doth make a heavy husband,
And never be Bassanio so for me.
But God sort all! You are welcome home, my lord.

PORTIA.
Let me bring light, but let me not be a distraction,
Because a frivolous wife weighs down her husband,
And I would never want Bassanio to be that way for me.
But may God arrange everything! You’re welcome home, my lord.

BASSANIO.
I thank you, madam. Give welcome to my friend.
This is the man, this is Antonio,
To whom I am so infinitely bound.

BASSANIO.
Thank you, ma'am. Please welcome my friend.
This is the man, this is Antonio,
To whom I am so deeply indebted.

PORTIA.
You should in all sense be much bound to him,
For, as I hear, he was much bound for you.

PORTIA.
You really owe him a lot,
Because, from what I’ve heard, he went out of his way for you.

ANTONIO.
No more than I am well acquitted of.

ANTONIO.
I’m no more guilty than I am innocent.

PORTIA.
Sir, you are very welcome to our house.
It must appear in other ways than words,
Therefore I scant this breathing courtesy.

PORTIA.
Sir, you're very welcome to our home.
It has to show in actions, not just words,
So I barely bother with this polite greeting.

GRATIANO.
[To Nerissa.] By yonder moon I swear you do me wrong,
In faith, I gave it to the judge’s clerk.
Would he were gelt that had it, for my part,
Since you do take it, love, so much at heart.

GRATIANO.
[To Nerissa.] I swear by that moon over there that you're wronging me,
Honestly, I gave it to the judge’s clerk.
I wish the guy who has it were castrated for all I care,
Since you take it to heart, my love, so deeply.

PORTIA.
A quarrel, ho, already! What’s the matter?

PORTIA.
A fight, hey, already! What’s going on?

GRATIANO.
About a hoop of gold, a paltry ring
That she did give me, whose posy was
For all the world like cutlers’ poetry
Upon a knife, “Love me, and leave me not.”

GRATIANO.
About a gold hoop, a useless ring
That she gave me, whose inscription was
Just like the cheesy sayings
On a knife, “Love me, and don’t leave me.”

NERISSA.
What talk you of the posy, or the value?
You swore to me when I did give it you,
That you would wear it till your hour of death,
And that it should lie with you in your grave.
Though not for me, yet for your vehement oaths,
You should have been respective and have kept it.
Gave it a judge’s clerk! No, God’s my judge,
The clerk will ne’er wear hair on’s face that had it.

NERISSA.
What are you talking about the flower or its worth?
You promised me when I gave it to you,
That you would keep it until the end of your life,
And that it would rest with you in your grave.
Even if it's not for me, out of respect for your strong vows,
You should have valued it and kept it safe.
Gave it to a judge’s clerk! No, I swear,
The clerk will never have facial hair if he had it.

GRATIANO.
He will, and if he live to be a man.

GRATIANO.
He will, and if he lives to be a man.

NERISSA.
Ay, if a woman live to be a man.

NERISSA.
Yeah, if a woman gets to be like a man.

GRATIANO.
Now, by this hand, I gave it to a youth,
A kind of boy, a little scrubbed boy,
No higher than thyself, the judge’s clerk,
A prating boy that begg’d it as a fee,
I could not for my heart deny it him.

GRATIANO.
Now, I swear, I gave it to a kid,
A kind of boy, a little scrawny kid,
No taller than you, the judge’s clerk,
A chattering boy who asked for it as a tip,
I just couldn’t bring myself to refuse him.

PORTIA.
You were to blame,—I must be plain with you,—
To part so slightly with your wife’s first gift,
A thing stuck on with oaths upon your finger,
And so riveted with faith unto your flesh.
I gave my love a ring, and made him swear
Never to part with it, and here he stands.
I dare be sworn for him he would not leave it
Nor pluck it from his finger for the wealth
That the world masters. Now, in faith, Gratiano,
You give your wife too unkind a cause of grief,
An ’twere to me I should be mad at it.

PORTIA.
You were wrong,—I have to be honest with you,—
To let go so easily of your wife's first gift,
A thing bound to you by promises on your finger,
And so tied to your heart with loyalty.
I gave my love a ring and made him promise
Never to part with it, and here he is.
I’m sure he wouldn’t leave it
Or take it off his finger for all the wealth
That the world offers. Now, honestly, Gratiano,
You’re giving your wife too harsh a reason to be upset,
If it were me, I would be furious.

BASSANIO.
[Aside.] Why, I were best to cut my left hand off,
And swear I lost the ring defending it.

BASSANIO.
[Aside.] Maybe I should just cut off my left hand,
And claim I lost the ring while trying to protect it.

GRATIANO.
My Lord Bassanio gave his ring away
Unto the judge that begg’d it, and indeed
Deserv’d it too. And then the boy, his clerk,
That took some pains in writing, he begg’d mine,
And neither man nor master would take aught
But the two rings.

GRATIANO.
My Lord Bassanio gave his ring to the judge who asked for it, and honestly,
he deserved it too. Then the boy, his clerk,
who put in some effort in writing, asked for mine,
and neither the man nor his master would accept anything
but the two rings.

PORTIA.
What ring gave you, my lord?
Not that, I hope, which you receiv’d of me.

PORTIA.
What ring did you give me, my lord?
Not that one, I hope, which you got from me.

BASSANIO.
If I could add a lie unto a fault,
I would deny it, but you see my finger
Hath not the ring upon it, it is gone.

BASSANIO.
If I could lie about a mistake,
I would deny it, but as you can see, my finger
Doesn’t have the ring on it; it’s gone.

PORTIA.
Even so void is your false heart of truth.
By heaven, I will ne’er come in your bed
Until I see the ring.

PORTIA.
Your deceitful heart has no truth in it.
By heaven, I will never get into your bed
Until I see the ring.

NERISSA.
Nor I in yours
Till I again see mine!

NERISSA.
Not in yours
Until I see mine again!

BASSANIO.
Sweet Portia,
If you did know to whom I gave the ring,
If you did know for whom I gave the ring,
And would conceive for what I gave the ring,
And how unwillingly I left the ring,
When nought would be accepted but the ring,
You would abate the strength of your displeasure.

BASSANIO.
Sweet Portia,
If you knew to whom I gave the ring,
If you knew for whom I gave the ring,
And understood why I gave the ring,
And how reluctantly I left the ring,
When nothing else would be accepted but the ring,
You would lessen your anger.

PORTIA.
If you had known the virtue of the ring,
Or half her worthiness that gave the ring,
Or your own honour to contain the ring,
You would not then have parted with the ring.
What man is there so much unreasonable,
If you had pleas’d to have defended it
With any terms of zeal, wanted the modesty
To urge the thing held as a ceremony?
Nerissa teaches me what to believe:
I’ll die for’t but some woman had the ring.

PORTIA.
If you had understood the value of the ring,
Or even half of the worthiness of the woman who gave it,
Or your own honor in keeping the ring,
You wouldn’t have given it up.
What man is so unreasonable,
That if you had wanted to defend it
With any kind of passion, would lack the modesty
To argue for something seen as a ritual?
Nerissa shows me what to think:
I’ll bet my life that some woman had the ring.

BASSANIO.
No, by my honour, madam, by my soul,
No woman had it, but a civil doctor,
Which did refuse three thousand ducats of me,
And begg’d the ring, the which I did deny him,
And suffer’d him to go displeas’d away,
Even he that had held up the very life
Of my dear friend. What should I say, sweet lady?
I was enforc’d to send it after him.
I was beset with shame and courtesy.
My honour would not let ingratitude
So much besmear it. Pardon me, good lady;
For by these blessed candles of the night,
Had you been there, I think you would have begg’d
The ring of me to give the worthy doctor.

BASSANIO.
No, I swear to you, madam, on my honor and my soul,
No woman had it, only a reputable doctor,
Who turned down three thousand ducats from me,
And asked for the ring, which I refused to give him,
And let him leave unhappy,
He who had saved my dear friend's life.
What can I say, sweet lady?
I had to send it after him.
I was caught between shame and politeness.
My honor wouldn't let me appear ungrateful
So badly. Please forgive me, good lady;
For by these blessed candles of the night,
If you had been there, I believe you would have asked
For the ring from me to give to the worthy doctor.

PORTIA.
Let not that doctor e’er come near my house,
Since he hath got the jewel that I loved,
And that which you did swear to keep for me,
I will become as liberal as you,
I’ll not deny him anything I have,
No, not my body, nor my husband’s bed.
Know him I shall, I am well sure of it.
Lie not a night from home. Watch me like Argus,
If you do not, if I be left alone,
Now by mine honour which is yet mine own,
I’ll have that doctor for mine bedfellow.

PORTIA.
I don't want that doctor anywhere near my house,
Since he has the jewel I loved,
And that thing you promised to keep for me,
I will be just as generous as you are,
I won't deny him anything I have,
Not even my body or my husband’s bed.
I’m sure I’ll recognize him.
Don’t spend a night away from home. Watch me like Argus,
If you don’t, and I’m left alone,
Now by my honor, which is still mine,
I’ll make that doctor my bedfellow.

NERISSA.
And I his clerk. Therefore be well advis’d
How you do leave me to mine own protection.

NERISSA.
And I his assistant. So think carefully
About how you're leaving me to take care of myself.

GRATIANO.
Well, do you so. Let not me take him then,
For if I do, I’ll mar the young clerk’s pen.

GRATIANO.
Alright, go ahead. I won't take him then,
Because if I do, I’ll mess up the young clerk’s writing.

ANTONIO.
I am th’ unhappy subject of these quarrels.

ANTONIO.
I am the unlucky one caught up in these arguments.

PORTIA.
Sir, grieve not you. You are welcome notwithstanding.

PORTIA.
Sir, don’t be sad. You’re still welcome here.

BASSANIO.
Portia, forgive me this enforced wrong,
And in the hearing of these many friends
I swear to thee, even by thine own fair eyes,
Wherein I see myself—

BASSANIO.
Portia, please forgive me for this forced mistake,
And in front of all these friends
I swear to you, even by your own beautiful eyes,
Where I see myself—

PORTIA.
Mark you but that!
In both my eyes he doubly sees himself,
In each eye one. Swear by your double self,
And there’s an oath of credit.

PORTIA.
Just notice that!
In both my eyes, he sees himself twice,
In each eye once. Swear by your true self,
And that’s a trustworthy oath.

BASSANIO.
Nay, but hear me.
Pardon this fault, and by my soul I swear
I never more will break an oath with thee.

BASSANIO.
No, just listen to me.
Forgive this mistake, and I swear on my soul
I will never break a promise to you again.

ANTONIO.
I once did lend my body for his wealth,
Which but for him that had your husband’s ring
Had quite miscarried. I dare be bound again,
My soul upon the forfeit, that your lord
Will never more break faith advisedly.

ANTONIO.
I once gave my body to help him get rich,
But if it weren't for the guy who had your husband's ring,
It would have all fallen apart. I’m willing to bet again,
My soul on the line, that your lord
Will never break his word intentionally again.

PORTIA.
Then you shall be his surety. Give him this,
And bid him keep it better than the other.

PORTIA.
Then you should be his guarantor. Give him this,
And tell him to take better care of it than the other.

ANTONIO.
Here, Lord Bassanio, swear to keep this ring.

ANTONIO.
Here, Lord Bassanio, promise to keep this ring.

BASSANIO.
By heaven, it is the same I gave the doctor!

BASSANIO.
By heaven, it’s the same thing I gave the doctor!

PORTIA.
I had it of him: pardon me, Bassanio,
For by this ring, the doctor lay with me.

PORTIA.
I got it from him: forgive me, Bassanio,
Because of this ring, the doctor was with me.

NERISSA.
And pardon me, my gentle Gratiano,
For that same scrubbed boy, the doctor’s clerk,
In lieu of this, last night did lie with me.

NERISSA.
And forgive me, my dear Gratiano,
For that same scrubbed boy, the doctor's clerk,
Instead of this, last night he spent the night with me.

GRATIANO.
Why, this is like the mending of highways
In summer, where the ways are fair enough.
What, are we cuckolds ere we have deserv’d it?

GRATIANO.
Why, this is like fixing the roads
In summer, when the paths are pretty good.
What, are we already fools before we’ve even earned it?

PORTIA.
Speak not so grossly. You are all amaz’d.
Here is a letter; read it at your leisure.
It comes from Padua from Bellario.
There you shall find that Portia was the doctor,
Nerissa there, her clerk. Lorenzo here
Shall witness I set forth as soon as you,
And even but now return’d. I have not yet
Enter’d my house. Antonio, you are welcome,
And I have better news in store for you
Than you expect: unseal this letter soon.
There you shall find three of your argosies
Are richly come to harbour suddenly.
You shall not know by what strange accident
I chanced on this letter.

PORTIA.
Don’t speak so crudely. You’re all surprised.
Here’s a letter; read it when you have time.
It’s from Padua, from Bellario.
You’ll find that Portia was the doctor,
And Nerissa was her clerk. Lorenzo here
Will confirm that I left just as you did,
And I just got back. I haven’t even
Entered my house yet. Antonio, you’re welcome,
And I have better news for you
Than you’re expecting: open this letter soon.
There you’ll see three of your ships
Have suddenly arrived in port.
You won’t believe the strange way
I came across this letter.

ANTONIO.
I am dumb.

ANTONIO.
I'm dumb.

BASSANIO.
Were you the doctor, and I knew you not?

BASSANIO.
Were you the doctor, and I didn't recognize you?

GRATIANO.
Were you the clerk that is to make me cuckold?

GRATIANO.
Were you the one who's going to make a fool out of me?

NERISSA.
Ay, but the clerk that never means to do it,
Unless he live until he be a man.

NERISSA.
Yeah, but the clerk who never plans to do it,
Unless he lives long enough to become a man.

BASSANIO.
Sweet doctor, you shall be my bedfellow.
When I am absent, then lie with my wife.

BASSANIO.
Sweet doctor, you will be my roommate.
When I’m not around, then be with my wife.

ANTONIO.
Sweet lady, you have given me life and living;
For here I read for certain that my ships
Are safely come to road.

ANTONIO.
Sweet lady, you’ve given me life

PORTIA.
How now, Lorenzo!
My clerk hath some good comforts too for you.

PORTIA.
Hey, Lorenzo!
My assistant has some good news for you too.

NERISSA.
Ay, and I’ll give them him without a fee.
There do I give to you and Jessica,
From the rich Jew, a special deed of gift,
After his death, of all he dies possess’d of.

NERISSA.
Yeah, and I’ll give them to him for free.
Here I give to you and Jessica,
From the wealthy Jew, a special gift deed,
After his death, of everything he owns.

LORENZO.
Fair ladies, you drop manna in the way
Of starved people.

LORENZO.
Beautiful ladies, you bring sweetness to those in need.

PORTIA.
It is almost morning,
And yet I am sure you are not satisfied
Of these events at full. Let us go in,
And charge us there upon inter’gatories,
And we will answer all things faithfully.

PORTIA.
It's almost morning,
And I know you’re not completely satisfied
With what happened. Let’s go inside,
And we'll ask each other questions there,
And we’ll answer everything honestly.

GRATIANO.
Let it be so. The first inter’gatory
That my Nerissa shall be sworn on is,
Whether till the next night she had rather stay,
Or go to bed now, being two hours to day.
But were the day come, I should wish it dark
Till I were couching with the doctor’s clerk.
Well, while I live, I’ll fear no other thing
So sore as keeping safe Nerissa’s ring.

GRATIANO.
Alright, that works for me. The first question
That my Nerissa will be asked to swear on is,
Whether until the next night she’d prefer to stay,
Or go to bed now, with two hours left in the day.
But when day arrives, I’d wish it were dark
Until I’m lying down with the doctor’s clerk.
Well, as long as I live, I won’t be afraid of anything
As much as making sure I keep Nerissa’s ring safe.

[Exeunt.]

[Exit.]


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