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!
Well, you'll see for yourself the difference between serving old Shylock and Bassanio. Jessica! You won't be able to eat excessively like you did with me. Jessica! And you won't sleep, snore, and tear up your clothes. Jessica, I'm calling you!
You'll see the difference between working for me and working for Bassanio. Jessica! You won't get to eat like a pig anymore the way you did with me. Jessica! And no more sleeping in, snoring, and ripping up your clothes. Where are you, Jessica?
you'll see the difference working for me vs bassanio no more eating like crazy no sleeping and snoring no tearing up ur clothes jessica where u at
Why, Jessica!
Why, Jessica!
Why, Jessica!
Why, Jessica
Who bids thee call? I do not bid thee call.
Who told you to call? I didn't ask you to call.
Who told you to call her? I didn't ask you to do that.
i didn't tell u to call her
Your worship was wont to tell me I could do nothing without bidding.
Your worship used to tell me I couldn't do anything without being told to.
You used to always say I couldn't do anything without your permission.
u always said i can't do anything without ur permission
Call you? What is your will?
You called me? What do you need?
Yes? What do you want?
what do u want?
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.
I've been invited to dinner, Jessica. Here are my keys. But why should I go? I'm not being invited out of love—they're just flattering me. But I will go anyway, out of hatred, to prey on the wasteful Christian. Jessica, my girl, look after my house. I'm very reluctant to leave, because something bad seems to be happening that will disturb my peace. I had a dream about money bags tonight.
I'm invited to dinner, Jessica. Take my keys. But honestly, why should I go? They're not inviting me because they like me—they're just being fake. But I'll go anyway to get something out of this wasteful Christian. Look after the house while I'm gone, Jessica. I really don't want to leave. Something feels wrong, like trouble is coming. I had this dream about money bags tonight.
i'm invited to dinner here's ur keys watch the house but why go they don't like me they're just being fake i'll go to get something from that wasteful guy i don't want to leave something feels wrong i dreamed about money bags
I beseech you, sir, go. My young master doth expect your reproach.
I beg you, sir, go. My young master is expecting your... reproach.
Please go, sir. My young master is waiting for you.
go sir my boss is waiting for u
So do I his.
And I expect his too.
And he expects the same from me.
me too
This scene is the only one in the play where we see Shylock in something like domestic life. He is irritable, distracted, and genuinely suspicious — but he is also a man who has real anxiety about his home, his daughter, and his possessions. His reluctance to go to dinner isn't paranoia: he correctly senses something is wrong. His instruction to Jessica ('Look to my house') is the behaviour of a man who genuinely cares about what he's built. The dream of money-bags is a warning he ignores because the social pressure to attend is greater than his better instincts. This is not a monster leaving his lair — it's a man with ordinary human vulnerabilities, on the worst night of his life, walking out the door.
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.
And they have plotted together. I won't tell you directly that there will be a masquerade, but if there is, it means something—my nose started bleeding on Black Monday last at six in the morning, and that year Ash Wednesday happened to fall in the afternoon four years earlier.
They've been planning this together. I won't come right out and say there's going to be a masquerade, but if there is, it all makes sense because my nose bled on Black Monday at 6 AM, and that same year Ash Wednesday was in the afternoon four years back.
they're planning something together there might be a masquerade my nose bled on black monday so u know it's happening
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.
Are there masquerades? Listen to me, Jessica. Lock up my doors, and when you hear the drum and the screeching of the pipes, don't climb up to the windows then, and don't stick your head out into the street to stare at Christian fools with their painted faces. Instead, close up my house's windows—I mean, block my casements so the sound of this shallow foolishness doesn't enter my serious household. I swear by Jacob's staff that I have no intention of dining out tonight. But I will go anyway. You go ahead of me. Tell them I'm coming.
There are masquerades? Listen, Jessica. Lock all the doors. When you hear the drums and those pipes squealing, don't go near the windows, and definitely don't look out into the street to watch those Christian idiots with their painted-up faces. Block the windows so this foolish noise doesn't get into my serious house. I swear I wasn't planning to go out to dinner tonight. But I'm going to go. You head on ahead, and tell them I'm on my way.
there's masquerades? lock the doors don't look out the windows don't watch those painted christian fools block the noise i'm not going but i will go ahead and tell them i'm coming
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.
I'll go ahead, sir. Mistress, look out the window despite all this. A Christian will come by who will be worth seeing for a Jewish woman.
I'm going ahead, sir. But Jessica, look out the window anyway. A Christian fellow is going to come by who'll be worth looking at for you.
i'm going ahead jessica look out the window a christian guy's coming worth ur time
What says that fool of Hagar’s offspring, ha?
What did that fool just say?
What was that fool talking about?
what'd that idiot say?
His words were “Farewell, mistress,” nothing else.
He said 'Goodbye, mistress,' nothing more.
He just said 'Goodbye, mistress.' That's all.
he said goodbye mistress
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.
He's a decent fool, but he eats a lot, produces little profit, and sleeps more than a wildcat. I don't keep lazy workers around, so I'm letting him go to work for someone who will help him waste his borrowed money. Well, Jessica, go inside. I might come back right away. Do as I say—shut the doors after you. 'Lock it up tight, and you'll find it safe.' This saying never gets old for someone who values money.
He's a decent guy, but he's lazy and eats too much. He barely makes any profit and sleeps all day long. I don't keep idle workers, so I'm getting rid of him. Let him go work for that Christian and help him waste his money. Go on inside, Jessica. I might be back soon. Lock the doors behind you, and remember: 'Lock it up, and you'll keep it safe.' That's what smart people live by.
he's decent but eats too much doesn't make profit sleeps all day i don't keep lazy workers i'm letting him go jessica go inside lock the doors fast bind fast find that's how u stay safe
Farewell, and if my fortune be not crost,
I have a father, you a daughter, lost.
Goodbye, and if my fortune doesn't go wrong, I have lost a father, and you have lost a daughter.
Goodbye. If everything goes as I hope, you've lost a daughter and I've lost a father.
goodbye if things go right u lose a daughter i lose a father
The Reckoning
The most complicated scene in the play's comic first half — Shylock is genuinely unpleasant here (dismissive, suspicious, obsessed with his house and money), but he is also, unbeknownst to him, in the last moments before his life collapses. His instruction to Jessica to lock up is immediately subverted by Launcelet's whisper. His confidence in his 'merry bond' will have teeth by the end of the night. Jessica's final couplet — 'I have a father, you a daughter, lost' — is perhaps the most devastating two lines in the early acts.
If this happened today…
A hedge fund manager tells his daughter he's going to a dinner he finds distasteful — his competitor's event — and before leaving reminds her to double-lock the apartment, set the alarm, ignore the noise from the party upstairs. He gives her the house keys. His soon-to-be-ex employee is carrying his coat and when the manager turns away mouths to the daughter: 'Look out the window later.' The manager leaves. The daughter stands in the apartment looking at the keys. Then she starts packing.