Free PDF, epub, site ebook. Though classified as a comedy in the First Folio and sharing certain aspects with Shakespeare's other romantic comedies, the. The Merchant Of Venice: ACT I. Volume I Book VI. 6. SALANIO Here comes Bassanio, your most noble kinsman,. Gratiano and Lorenzo. Fare ye well: We leave. This is a digital copy of a book that was preserved for generations on library + Make non-commercial use of the files We designed Google Book Search for use .

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Free site book and epub digitized and proofread by Project Gutenberg. The Merchant of Venice by William Shakespeare. Book Cover. Download; Bibrec. Free site book and epub digitized and proofread by Project Gutenberg. The Merchant of Venice by William Shakespeare. No cover Download This eBook. MERCHANT OF VENICE (CARD) / SCENE III. Venice. A public place. .. Wear prayer-books in my pocket, look demurely,. Nay more, while grace is saying .

At any point in the text, you can hover your cursor over a bracket for more information. Synopsis Antonio, the merchant in The Merchant of Venice, secures a loan from Shylock for his friend Bassanio, who seeks to court Portia. Bassanio sails to Belmont, where the wealthy heiress Portia is being courted by suitors from around the world.

Where others have failed, Bassanio succeeds by selecting the right chest. Portia marries Bassanio; her waiting woman, Nerissa, marries his friend Gratiano.

The Merchant of Venice by William Shakespeare - Free PDF eBook

Shylock is devastated. When Antonio cannot repay the loan, Shylock demands the pound of flesh. What he has achieved is in a sense a natural byproduct of his genius rather than anything intrinsic to some general view of Jews and Jewishness, which is to some degree the xxiv introduction nominal subject matter of his play. Is there a contradiction between the human Shylock and these attacks on what is obviously considered the nonhuman nature of Jews and Jewishness?

Of course there is—if we attempt to frame The Merchant of Venice as an ideological drama, even an exposition of how Shakespeare himself viewed Jews and Jewishness. The play was no more conceived in such terms than The Taming of the Shrew was meant as a savage assault on women or than The Tempest was intended to be a close critique of magic or the behavior of magicians. Antonio is clearly one of its three focal points, and he is a major player.

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When he is required to be melancholy, he is melancholy, and when that need has passed,he ceases to be melancholy. He can be loyal, he can be longsuffering—everything that he needs to be and, aside from the characteristic Shakespearean elegance with which he speaks, not a great deal more.

Antonio works quite satisfactorily, in a role thus delimited; his characterization will not bear any large, close examination. The abusive episodes that Shylock has described are not here recalled.

In act 1, scene 2, Portia is the very model of maidenly wisdom and, as to the other sex, cynicism. Is it not hard, Nerissa, that I cannot choose one, nor refuse none? If he have the condition of a saint, and the complexion of a divel, I had rather he should shrive me than wive me. Come Nerissa.

Book: The Merchant of Venice

Sirrah go before. She doggedly deals with, and is rid of, a number of failed suitors—until suddenly, there is an unknown and unnamed one an- xxvi introduction nounced by a messenger—that is, a servant. The Elizabethan audience would have had no trouble understanding that the relative of a messenger would have no business courting a high-upper-class woman who consorts on equal terms with princes. In act 3, scene 2 we see Portia in a more sobered state. The unknown suitor has been the one she most wanted, Bassanio, and he is impatient to take the test that will either win her or lose her.

Plainly, she wants to be with him but not to risk being unable to be with him any longer, if he fails the test. She does not think he will fail it.

But just the same, she is cautious. As he steps through the casket maze, sweet music is played, and sung, creating a perfect atmosphere for romantic success.

Portia sees it coming, for she knows which choice would be the right one,and speaks in an aside of her maidenly wish not to hurry this wonderful thing to its death: O love, be moderate, allay thy ecstasy, In measure rein thy joy, scant this excess. I feel too much thy blessing, make it less, For fear I surfeit. 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 unlessoned girl, unschooled, unpracticed, 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.

This is in the best sense comedy—that is, drama with a happy ending.

Act 5 will extend this most beautifully. Bassanio rushes off to help. Portia,already wiser than he is in the real ways of the world, takes an indirect but distinctly more functional route. Duke Came you from old Belario? Portia I did my lord.

The Merchant of Venice by William Shakespeare

Duke You are welcome, take your place. Are you acquainted with the difference That holds this present question in the court? Portia I am informed thoroughly of the cause. Which is the merchant here? And which the Jew? Her masterly aplomb, indeed, is utterly lawyer-like. It is night; the setting is replete with the stigmata of romance: 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, xxix introduction And sighed his soul toward the Grecian tents Where Cressed lay that night.

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.

Such harmony is in immortal souls, But whilst this muddy vesture of decay Doth grossly close in it, we cannot hear it 53—64 Portia and Nerissa whose unconsummated marriage to Gratiano constitutes them the third wedding pair arrive.

How far that little candle throws his beams.

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So shines a good deed in a naughty world. There follows a lovely barrage of teasing banter, in the course of which both Portia and Nerissa show, yet again, how vastly their husbands are overmatched by them. The men are reduced to submissive admissions of guilt and pledges for a guilt-free future: Bassanio Nay, but hear me. Pardon this fault, and by my soul I swear I never more will break an oath with thee. In a very few more lines, Portia leads them all indoors, for what is indicated will be a set of most acceptable tripartite acts of marital consummation.

Notes 1. Spelling and punctuation modernized. Shapiro, Shakespeare and the Jews, Gross, Shylock, Claiming to know the true location of Christ's cup from the Last Supper. Then the miraculous happens - a mortar strikes the prison and he is free!

Old, frail, and injured, he escapes to the jungle, where he encounters two Western journalists and a beautiful freelance photographer taking refuge from the carnage.

As they tend to his wounds, he relates his incredible story. Motivated by the sensational tale and their desire to find the location of the holiest of relics, the trio agrees to search for the Grail. Thus begins an impossible quest that will pit them against murderous tribes, deadly assassins, fanatical monks, and the passions of their own hearts.Lievsay, The Elizabethan Image of Italy, If it be so, How little is the cost I have bestow'd In downloading the semblance of my soul From out the state of hellish misery!

Thomas Hanmer,] 6 vols, , " The Works of Mr.

But whereas Greene starts his play with high-flown declarations of love from all the princes, Shakespeare first gives us Portia's mocking review of her suitors, saving the pomp and rhetoric till 2. The right of choice that Shylock exercises when he first refuses to dine with Bassanio but later goes to his feast could not have been enjoyed by a real Jew of the period.

Still, our modern preferences cannot be lightly substituted for what is,after a fashion,the closest thing to a Shakespeare manuscript we are likely ever to have.

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: Moreover, by Shakespeare's day, English usurers were in their own right a familiar element in the London social scene.