Merchant of Venice Notes

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Act I—Scene 1

Walking along a street in Venice, Antonio (the "merchant" of the title) confesses to his friends Salarino and Salanio that lately he has felt unaccountably sad. They have noticed it, and they suggest that Antonio is probably worried about the safety of his merchant ships, which are exposed to storms at sea and attacks by pirates. Antonio denies this and also denies that he is in love, a possibility that both of his friends think might explain Antonio's pensiveness. Salarino concludes that Antonio's moodiness must be due simply to the fact that Antonio is of a naturally melancholy disposition. At this point, their friends Bassanio, Lorenzo, and Gratiano join them, and after an exchange of courtesies, Salarino and Salanio excuse themselves. Gratiano takes a long look at his old friend Antonio and playfully chides him for being so solemn and so unduly silent. Gratiano says that he himself never has "moods"; in contrast to Antonio, Gratiano is determined to always "play the fool." Lorenzo intimates that sometimes Gratiano is too much the fool—that is, he is too loquacious. He and Gratiano depart, promising to meet the others at dinner.

Left alone with Antonio, Bassanio assures him that he should not worry about Gratiano's critical remarks. Antonio then changes the subject abruptly; he asks Bassanio for more information, as promised, about the certain lady to whom Bassanio has sworn "a secret pilgrimage." Bassanio does not answer Antonio directly; he begins a new subject, and he rambles on about his "plots and purposes" and about the fact that he has become so prodigal about his debts that he feels "gag'd."

Antonio tells his friend to get to the point; he promises to help him if he can. Bassanio then reveals his love for the beautiful and virtuous Portia, an extremely wealthy young lady who lives in Belmont. He says that her beauty and her fortune are so well known, in fact, that she is being courted by "renowned suitors" from all parts of the world. Bassanio, however, is confident that if he could spend as much money as is necessary, he could be successful in his courtship. Antonio understands Bassanio's predicament, but Antonio has a problem of his own. Since all the capital which Antonio possesses has been invested in his ships, his cash flow is insufficient for any major investments at this time. As a solution, however, Antonio authorizes Bassanio to try to raise a loan using Antonio's good name as collateral for credit. Together, they will do their utmost and help Bassanio to go to Belmont in proper style.

Act I—Scene 2

At Belmont, Portia discusses the terms of her father's will with her confidante, Nerissa. According to the will of her late father, Portia cannot marry a man of her own choosing. Instead, she must make herself available to all suitors and accept the one who chooses "rightly" from among "three chests of gold, silver and lead." Nerissa tries to comfort Portia and tells her that surely her father knew what he was doing; whoever the man might be who finally chooses "rightly," surely he will be "one who shall rightly love." Portia is not so certain. None of her current suitors is the kind of man whom she would choose for herself if she could choose. She cannot, however, for she gave her word that she would be obedient to her father's last wishes.

Nerissa asks her to reconsider the gentlemen who have courted her, and she names the suitors who have come to Belmont—a Neapolitan prince; the County Palatine; a French lord, Monsieur Le Bon; a young English baron, Falconbridge; a Scottish lord; and a young German, the Duke of Saxony's nephew. Portia caustically comments on their individual faults, finding each one of them undesirable as a husband. Fortunately, all of them have decided to return home, unwilling to risk the penalty for choosing the wrong casket—which is, remaining a bachelor for the rest of their lives.

Nerissa then reminds her mistress of a gentleman who came to Belmont while Portia's father was living—his name was Bassanio, a Venetian, a scholar and a soldier. Portia recalls him and praises him highly: "He, of all the men that ever my foolish eyes looked upon, was the best deserving of a fair lady." A servant interrupts the conversation and announces that a new suitor, the Prince of Morocco, will arrive that evening.

Act I—Scene 3

Bassanio seeks out Shylock, a Jewish moneylender, for a loan of three thousand ducats on the strength of Antonio's credit. Shylock is hesitant about lending Bassanio the money. He knows for a fact that Antonio is a rich man, but he also knows that all of Antonio's money is invested in his merchant fleet. At the present time, Antonio's ships are bound for distant places, and therefore vulnerable to many perils at sea. Yet he says finally, "I think I may take his bond." He refuses Bassanio's invitation to dinner, however; he will do business with Christians, but it is against his principles to eat with them.

When Antonio suddenly appears, Shylock (in an aside) expresses contempt for him, saying that he hates Antonio because he is a Christian, but more important, he hates Antonio because Antonio lends money to people without charging interest; moreover, Antonio publicly condemns Shylock for charging excessive interest in his moneylending business. Finally, though, Shylock agrees to lend Bassanio the three thousand ducats. Antonio then says that he—as a rule—never lends nor borrows money by taking or giving interest. Yet because of his friend Bassanio's pressing need, Antonio is willing to break this rule. The term of the loan will be for three months, and Antonio will give his bond as security.

While Bassanio and Antonio are waiting to learn the rate of interest which Shylock will charge for the loan, Shylock digresses. He tells them about the biblical story of how Jacob increased his herd of sheep. He calculates the interest which he will charge and announces: "Three months from twelve; then, let me see; the rate." Shylock then accuses Antonio of having repeatedly spit upon him and called him a dog. And now Antonio and Bassanio come asking him for money. Yet they pride themselves that Antonio is a virtuous man because he lends money to friends, with no interest involved. Is this loan, Shylock inquires, a loan to be arranged among "friends"? On the contrary; this is not to be regarded as a loan between friends, Antonio asserts. In fact, Antonio says, Shylock may regard it as a loan to an enemy if he wishes. Then, surprisingly, Shylock says that he wants Antonio's friendship, and to prove it, he will advance the loan without charging a penny of interest. But in order to make this transaction "a merry sport," Shylock wants a penalty clause providing that if Antonio fails to repay the loan within the specified time, Shylock will have the right to cut a "pound of flesh" from any part of Antonio's body. Bassanio objects to his friend's placing himself in such danger for his sake, but Antonio assures him that long before the loan is due that some of his ships will return from abroad and that he will be able to repay the loan three times over. Shylock insists, at this point, that the penalty is merely a jest. He could gain nothing by exacting the forfeit of a pound of human flesh, which is not even as valuable as mutton or beef. The contract is agreed to, and despite Bassanio's misgivings, Antonio consents to Shylock's terms.

Act II—Scene 1

There is a flourish of trumpets, and the Prince of Morocco enters. Portia, along with her confidante, Nerissa, and several ladies-in-waiting are present, and the prince, knowing that he is only one of many suitors who seek Portia's hand in marriage, begins his courtship straightforwardly—that is, he initiates the subject of the color of his skin. Being from Morocco, he comes "in the shadowed livery of the burnished sun." He has a very dark complexion, and he begs Portia to "mislike [him] not for [his] complexion." Despite the color of his skin, however, his blood is as red as any of Portia's other suitors, and he is as brave as any of them.

Portia tells him that he is "as fair" as any of the men who have come to seek her "affection." Furthermore, were she not bound by the terms of her father's will, he would stand as good a chance as any other suitor. According to her father's will, however, if the prince wishes to try for her hand, he must take his chances like all the others. If he chooses wrongly, he must remain a bachelor forever; he is "never to speak to lady afterward / In way of marriage."

The prince is not easily deterred; he is ready for the test. All in good time, says Portia; first, they shall have dinner together. Then his "hazard shall be made." There is a flourish of trumpets, and the two exit.

Act II—Scene 2

After the last, rather serious scene in Belmont, we return to Venice, and the initial emphasis here is on Launcelot Gobbo, Shylock's servant, an "unthrifty knight." Launcelot is debating with himself as to whether or not he should remain in Shylock's service; he is tempted to leave and find employment elsewhere, but he is unable to make up his mind. The decision is difficult, he says, for he feels the weight of his "conscience hanging about the neck of his heart."

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The comedy builds when Launcelot's father, Old Gobbo, comes onstage. Old Gobbo is "more than sandblind" and does not recognize his son. He sees before him only the dim image of a man who he hopes can direct him to Shylock's house. Launcelot is delighted to encounter his father, whom he has not seen for a long time, and so he conceals his true identity and playfully confuses the old man with much clowning and double-talk, before revealing who he really is and kneeling to receive his father's blessing.

Bassanio now enters, along with Leonardo and other followers, and he ...

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