Act 3, Scene 2 — The Merchant of Venice

The argument Portia begs Bassanio to wait before choosing. He insists. Music plays as he deliberates, delivers his anti-ornament speech, and chooses lead — finding Portia's portrait inside. Portia gives herself and all she has to him, including a ring. Gratiano reveals he and Nerissa have been quietly courting. Lorenzo arrives with Jessica and Salerio, who hands Bassanio a letter from Antonio: all ships lost, the bond forfeit. Portia immediately offers to pay it many times over. Antonio's letter is read aloud.

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

PORTIA ≋ verse

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.

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 has 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.

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 has 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

"One half of me is yours, the other half yours, / Mine own, I would say; but if mine, then yours, / And so all yours" Portia's speech catches itself mid-sentence: she starts to say 'the other half is mine own' but immediately revises — if it's mine, it's yours, so it's all yours. The logic of love consuming the self, enacted in grammar.

Why it matters Portia's opening speech is one of the play's most revealing character moments. She is intelligent enough to know she's stalling, honest enough to say so, and helpless to stop it. The tension between the oath she must keep and the feeling she can't suppress is the whole scene in miniature.

BASSANIO ≋ verse

Let me choose,

For as I am, I live upon the rack.

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

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

PORTIA ≋ verse

Upon the rack, Bassanio! Then confess

What treason there is mingled with your love.

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

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

BASSANIO ≋ verse

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.

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.

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

PORTIA ≋ verse

Ay, but I fear you speak upon the rack

Where men enforced do speak anything.

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

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

BASSANIO

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

Promise me life, and I’ll confess the truth

PORTIA

Well then, confess and live.

Well then, confess and live

BASSANIO ≋ verse

“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.

“Confess and love” Had been the very sum of my confession: O happy torment, when my torturer does teach me answers for deliverance! But let me to my fortune and the caskets.

“Confess and love” Had been the very sum of my confession: O happy torment, when my torturer does teach me answers for deliverance But let me to my fortune and the caskets

PORTIA ≋ verse

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.

A song, whilst Bassanio comments 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._

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 does make his choice. Then if he lose he makes a swan-like end, Fading in music. That the comparison May stand more proper, my I 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 you, I live. With much much more dismay I view the fight than you that mak’st the fray. A song, whilst Bassanio comments on the caskets to himself.

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 does make his choice Then if he lose he makes a swan-like end, Fading in music

"I stand for sacrifice; / The rest aloof are the Dardanian wives" Portia compares herself to Hesione of Troy, bound as a sacrifice to a sea-monster, awaiting rescue by Hercules. The Trojan wives watch in fear. It's a mythically elevated image that also quietly captures the reality of her situation: she is a prize to be won, and she knows it.

Why it matters Portia's speech as Bassanio chooses is the scene's emotional peak. The music instruction, the swan metaphor, the Hercules/sacrifice image — this is one of the most elaborately staged moments in the comedies. Her final lines ('I view the fight than thou that mak'st the fray') reveal that the person in most danger here emotionally is her.

ALL [stage direction sung]

_Ding, dong, bell._

Ding, dong, bell.

ding dong bell

BASSANIO ≋ verse

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!

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 you gaudy gold, Hard food for Midas, I will none of you, Nor none of you, you pale and common drudge ’Tween man and man: but you, you meagre lead, Which rather threaten’st than do promise aught, your palenness moves me more than eloquence, And here choose I, joy be the consequence!

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

"The seeming truth which cunning times put on / To entrap the wisest" Bassanio's anti-ornament speech deliberately echoes and corrects Morocco's reasoning in 2-7. Where Morocco thought a 'golden mind' should choose gold, Bassanio argues that gold is precisely the trap for 'the wisest' — the very sophistication of its deception is why it's dangerous.

Why it matters Bassanio's casket speech is the intellectual heart of the casket plot. He is not choosing lead because he's humble — he's choosing it because he has correctly diagnosed that ornament lies, and the lead casket is the only one that tells an uncomfortable truth ('must give and hazard all'). The speech also works as an oblique comment on the entire play's surface-vs-substance theme.

↩ Callback to 2-7 Bassanio's anti-ornament speech directly answers and corrects Morocco's reasoning in 2-7 — where Morocco argued gold suits a golden mind, Bassanio argues all ornament is deception, especially gold.

[_Aside._] How all the other passions fleet to air,

PORTIA ≋ verse

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.

As doubtful thoughts, and rash-embrac’d despair, And shudd’ring fear, and green-ey’d jealousy. O love, be moderate; allay your ecstasy, In measure rain your joy; scant this excess! I feel too much your blessing, make it less, For fear I surfeit.

As doubtful thoughts, and rash-embrac’d despair, And shudd’ring fear, and green-ey’d jealousy O love, be moderate; allay your ecstasy, In measure rain your joy; scant this excess I feel too much your blessing, make it less, For fear I surfeit

BASSANIO ≋ verse

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.

_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._

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.

What find I here? Fair Portia’s counterfeit! What demi-god has 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 has 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 does wrong this shadow In underprizing it, so far this shadow does limp behind the substance. Here’s the scroll, The continent and summary of my fortune. A gentle scroll. Fair lady, by your leave, I come by note to give and to receive. Like one of two contending in a prize That thinks he has 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.

What find I here Fair Portia’s counterfeit What demi-god has 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

Why it matters Bassanio's portrait speech is the scene's tonal peak — pure joy, with the comic undertow of someone so overwhelmed they barely make sense. It captures what he's been building toward since 1-1. The kiss that follows is the only physical contact the play grants this couple before the world crashes in.

PORTIA ≋ verse

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.

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.

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

"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" The tense shift — 'but now I was' (just now I was) — is one of Shakespeare's most precise moments. Portia registers the instant of legal and personal transformation: the moment she was free, and the moment she gave it up. She is fully aware of what she is surrendering.

Why it matters Portia's speech is simultaneously one of the most moving in the play and one of the most disturbing. She freely gives herself — and the play records that she had full sovereignty one moment before doing so. 'Queen o'er myself' is past tense by the end of the same sentence. The ring she gives becomes the plot of Act 4.

BASSANIO ≋ verse

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!

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 does 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!

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 does 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

NERISSA ≋ verse

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!

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!

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

GRATIANO ≋ verse

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.

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.

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

BASSANIO

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

With all my heart, so you canst get a wife.

With all my heart, so you canst get a wife

GRATIANO ≋ verse

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.

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.

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

PORTIA

Is this true, Nerissa?

Is this true, Nerissa

NERISSA

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

madam, it is, so you stand pleas’d withal.

madam, it is, so you stand pleas’d withal

BASSANIO

And do you, Gratiano, mean good faith?

And do you, Gratiano, mean good faith

GRATIANO

Yes, faith, my lord.

Yes, faith, my lord

BASSANIO

Our feast shall be much honoured in your marriage.

Our feast shall be much honoured in your marriage

GRATIANO

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

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

NERISSA

What! and stake down?

What and stake down

GRATIANO ≋ verse

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!

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!

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

Enter Lorenzo, Jessica and Salerio.

BASSANIO ≋ verse

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.

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.

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

PORTIA ≋ verse

So do I, my lord,

They are entirely welcome.

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

So do I, my lord, They are entirely welcome

LORENZO ≋ verse

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.

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 no, To come with him along.

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 no, To come with him along

SALERIO ≋ verse

I did, my lord,

And I have reason for it. Signior Antonio

Commends him to you.

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

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

[_Gives Bassanio a letter._]

BASSANIO ≋ verse

Ere I ope his letter,

I pray you tell me how my good friend doth.

before I ope his letter, I pray you tell me how my good friend does.

before I ope his letter, I pray you tell me how my good friend does

SALERIO ≋ verse

Not sick, my lord, unless it be in mind,

Nor well, unless in mind. His letter there

Will show you his estate.

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

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

[_Bassanio opens the letter._]

GRATIANO ≋ verse

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.

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

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

SALERIO

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

I would you had won the fleece that he has lost.

I would you had won the fleece that he has lost

Why it matters Salerio's one line punctures the scene's joy absolutely. The casual brutality of the timing — mid-celebration — is perfect.

PORTIA ≋ verse

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.

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.

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

Why it matters Portia watches Bassanio read and registers before he speaks what kind of news has arrived. Her claim — 'I am half yourself, / And I must freely have the half of anything / That this same paper brings you' — is a direct echo of the 'one half of me is yours' speech earlier in the scene. In joy and in crisis, the same logic.

BASSANIO ≋ verse

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?

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? has 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?

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

Why it matters Bassanio's confession — that he was 'worse than nothing' and used Antonio as collateral — is the scene's most honest speech. He has won everything and is telling his new wife, in the same breath, that he arrived bearing a secret debt. The play gives Portia no time to react to this before she begins solving it.

SALERIO ≋ verse

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.

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 does 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.

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 does 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

JESSICA ≋ verse

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.

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.

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

Why it matters Jessica's testimony is the most damning — and the most intimate — evidence against Shylock. She was inside his house and heard him say it. This is also Jessica's first significant speech in front of Portia and Bassanio, and she spends it bearing witness against her father.

🎭 Dramatic irony Jessica testifies that Shylock would rather have Antonio's flesh than the money — but the audience from 3-1 knows that since then, Shylock has specifically said 'I will have the heart of him.' Jessica's word is confirmation, not news, to the audience.

PORTIA

Is it your dear friend that is thus in trouble?

Is it your dear friend that is thus in trouble

BASSANIO ≋ verse

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.

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.

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

PORTIA

What sum owes he the Jew?

What sum owes he the Jew

BASSANIO

For me three thousand ducats.

For me three thousand ducats

PORTIA ≋ verse

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.

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.

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

Why it matters Portia's response to the crisis is one of her defining character moments. She has just married — she immediately sends her husband away. She doesn't hesitate or pause for sentiment. The 'since you were dear bought, I will love you dear' line is simultaneously witty and exactly the right emotional register: she makes the best of a terrible situation without pretending it isn't terrible.

BASSANIO [Antonio's letter—his last words]

_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._

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 cleared 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.

"since in paying it, it is impossible I should live, all debts are clear'd between you and I" Antonio's letter is the most quietly devastating writing in the play. It says: I am going to die. It does not say: save me. It says: the debt between us is cleared, come if you love me. The restraint is everything.

Why it matters Antonio's letter closes the scene's emotional arc. He does not beg. He offers to release Bassanio from obligation and only asks to be seen before the end. This is either heroic self-abnegation or an extremely effective form of emotional leverage — and the play doesn't adjudicate.

PORTIA

O love, dispatch all business and be gone!

O love, dispatch all business and be gone

BASSANIO ≋ verse

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.

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.

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

[_Exeunt._]

The Reckoning

The play's great turning point — and structurally one of Shakespeare's most ambitious scenes. It opens as romantic comedy and closes as potential tragedy. Bassanio's success is earned by the right kind of thinking; Portia's surrender of herself is both genuinely moving and (the play quietly notes) a return to dependence she briefly escaped. The arrival of Antonio's letter is timed perfectly to burst the romantic bubble — joy at its peak, then the letter. And the letter itself is quietly devastating: 'since in paying it, it is impossible I should live, all debts are cleared between you and I, if I might but see you at my death.'

If this happened today…

A couple finally gets together after years of near-misses — friends' reactions, the moment of yes, the ring exchange. A second couple does the same in the background, which doubles the joy. Then a text arrives from the person who made the relationship possible, and it's bad. Like, very bad. All his investments failed. He owes someone who wants to hurt him. He's saying goodbye. And the new couple's first act as a couple is to figure out how to save him.

Continue to 3.3 →