The The Merchant of Venice Merchant of Venice [NOOK Book]

Overview

The Merchant of Venice is an intriguing drama of love, greed, and revenge. At its heart, the play contrasts the characters of the maddened and vengeful Shylock, a Venetian moneylender, with the gracious, level-headed Portia, a wealthy young woman besieged by suitors. At the play's climax, Shylock insists on the enforcement of a binding contract that will cost the life of the merchant Antonio — inciting Portia to mount a memorable defense.
In this richly plotted drama, Shylock, ...

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The The Merchant of Venice Merchant of Venice

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Overview

The Merchant of Venice is an intriguing drama of love, greed, and revenge. At its heart, the play contrasts the characters of the maddened and vengeful Shylock, a Venetian moneylender, with the gracious, level-headed Portia, a wealthy young woman besieged by suitors. At the play's climax, Shylock insists on the enforcement of a binding contract that will cost the life of the merchant Antonio — inciting Portia to mount a memorable defense.
In this richly plotted drama, Shylock, whom Shakespeare endowed with all of the depth and vitality of his greatest characters, is not alone in his villainy. In scene after scene, a large cast of ambitious and scheming characters demonstrates that honesty is a quality often strained where matters of love and money are concerned.
The gravity and suspense of the play's central plot, together with its romance, have made The Merchant of Venice a favorite of audiences, and one of the most studied and performed of Shakespeare's plays. It is reprinted here from an authoritative text, complete with explanatory footnotes.

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Editorial Reviews

From the Publisher

"Handy, reliable, altogether excellent...with introductions that truly cover everything and notes that explain all that needs to be explained."--Bibliotheque d'Humanisme et Renaissance

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Product Details

  • ISBN-13: 9780486113814
  • Publisher: Dover Publications
  • Publication date: 2/28/2012
  • Sold by: Barnes & Noble
  • Format: eBook
  • Pages: 96
  • Sales rank: 739,425
  • File size: 527 KB

Meet the Author

William Shakespeare (26 April 1564 (baptised) - 23 April 1616) was an English poet, playwright and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His extant works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and a few other verses, the authorship of some of which is uncertain. His plays have been translated into every major living language and are performed more often than those of any other playwright.

Shakespeare was born and brought up in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and whether the works attributed to him were written by others.

Shakespeare produced most of his known work between 1589 and 1613. His early plays were mainly comedies and histories and these works remain regarded as some the best work produced in these genres even today. He then wrote mainly tragedies until about 1608, including Hamlet, King Lear, Othello, and Macbeth, considered some of the finest works in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights.

Many of his plays were published in editions of varying quality and accuracy during his lifetime. In 1623, John Heminges and Henry Condell, two friends and fellow actors of Shakespeare, published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. It was prefaced with a poem by Ben Jonson, in which Shakespeare is hailed, presciently, as "not of an age, but for all time."

Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the 19th century.

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Read an Excerpt

The Merchant of Venice


By WILLIAM SHAKESPEARE, CANDACE WARD

Dover Publications, Inc.

Copyright © 1995 Dover Publications, Inc.
All rights reserved.
ISBN: 978-0-486-11381-4


CHAPTER 1

ACT I.


SCENE I. Venice. A Street.

Enter ANTONIO, SALARINO, and SALANIO

ANT. 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 't is 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.

SALAR. 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 curt'sy to them, do them reverence,
As they fly by them with their woven wings.

SALAN. 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.

SALAR. My wind, cooling my broth,

Would blow me to an ague, when I thought
What harm a wind too great at sea might do.
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 bechanced would make me sad?
But tell not me; I know, Antonio
Is sad to think upon his merchandise.

ANT. 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.

SALAR. Why, then you are in love.

ANT. Fie, fie!

SALAR. Not in love neither? Then let us say you are sad,

Because you are not merry: and 't were 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 framed strange fellows in her time:
Some that will evermore peep through their eyes,
And laugh like parrots at a bag-piper;
And other of such vinegar aspect,
That they'll not show their teeth in way of smile,
Though Nestor swear the jest be laughable.


Enter BASSANIO, LORENZO, and GRATIANO

SALAN. Here comes Bassanio, your most noble kinsman,

Gratiano, and Lorenzo. Fare ye well:
We leave you now with better company.

SAAR. I would have stay'd till I had made you merry,

If worthier friends had not prevented me.

ANT. Your worth is very dear in my regard.

I take it, your own business calls on you,
And you embrace the occasion to depart.

SALAD. Good morrow, my good lords.

BASS. Good signiors both, when shall we laugh? say, when?

You grow exceeding strange: must it be so?

SALAR. We'll make our leisures to attend on yours.

[Exeunt SALARINO and SALANIO.]

LOR. 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.

BASS. I will not fail you.

GRA. 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 changed.

ANT. I hold the world but as the world, Gratiano;

A stage, where every man must play a part,
And mine a sad one.

GRA. 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 it is 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 awhile:
I'll end my exhortation after dinner.

LOR. 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.

GRA. Well, keep me company but two years moe,

Thou shalt not know the sound of thine own tongue.

ANT. Farewell: I'll grow a talker for this gear.

GRA. Thanks, i' faith; for silence is only commendable

In a neat's tongue dried, and a maid not vendible.

[Exeunt GRATIANO and LORENZO.]

ANT. Is that any thing now?

BASS. 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.

ANT. Well, tell me now, what lady is the same

To whom you swore a secret pilgrimage,
That you to-day promised to tell me of?

BASS. 'T is 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 abridged
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 gaged. To you, Antonio,
I owe the most, in money and in love;
And from your love I have a warranty
To unburthen all my plots and purposes
How to get clear of all the debts I owe.

ANT. I pray you, good Bassanio, let me know it;

And if it stand, as you yourself still do,
Within the eye of honour, be assured,
My purse, my person, my extremest means,
Lie all unlock'd to your occasions.

BASS. 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.

ANT. 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.

BASS. 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 undervalued
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!

ANT. 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.

[Exeunt.]


SCENE II. Belmont. A room in PORTIA'S house.

Enter PORTIA and NERISSA

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

NER. 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 comes sooner by white hairs; but competency lives longer.

POR. Good sentences, and well pronounced.

NER. They would be better, if well followed.

POR. 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 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. 0 me, the word "choose"! I may neither choose whom I would, nor refuse whom I dislike; so is the will of a living daughter curbed by the will of a dead father. Is it not hard, Nerissa, that I cannot choose one, nor refuse none?

NER. Your father was ever virtuous; and holy men, at their death, have good inspirations: therefore, the lottery, 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 shall rightly love. But what warmth is there in your affection towards any of these princely suitors that are already come?

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

NER. First, there is the Neapolitan prince.

POR. 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 played false with a smith.

NER. Then there is the County Palatine.

POR. He doth nothing but frown; as who should say, "if 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!

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

POR. 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 capering: 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.

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

POR. 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 every where.

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

POR. 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 sealed under for another.

NER. How like you the young German, the Duke of Saxony's nephew?

POR. 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: an the worst fall that ever fell, I hope I shall make shift to go without him.

NER. 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.

POR. 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 any thing, Nerissa, ere I'll be married to a sponge.

NER. 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.

POR. 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.

NER. 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?

POR. Yes, yes, it was Bassanio; as I think he was so called.

NER. True, madam: he, of all the men that ever my foolish eyes looked upon, was the best deserving a fair lady.

POR. I remember him well; and I remember him worthy of thy praise.

Enter a Serving-man


How now! what news?

SERV. 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 to-night.

POR. If I could bid the fifth welcome with so good a 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 gates upon one wooer, another knocks at the door.

[Exeunt.]


SCENE III. Venice. A public place.

Enter BASSANIO and SHYLOCK


SHY. Three thousand ducats; well.

BASS. Ay, sir, for three months.

SHY. For three months; well.

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

SHY. Antonio shall become bound; well.

BASS. May you stead me? will you pleasure me? shall I know your answer?

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

BASS. Your answer to that.

SHY. Antonio is a good man.

BASS. Have you heard any imputation to the contrary?

SHY. 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.

BASS. Be assured you may.

SHY. I will be assured I may; and, that I may be assured, I will bethink me. May I speak with Antonio?

BASS. If it please you to dine with us.

SHY. 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?


(Continues...)

Excerpted from The Merchant of Venice by WILLIAM SHAKESPEARE, CANDACE WARD. Copyright © 1995 Dover Publications, Inc.. Excerpted by permission of Dover Publications, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

Nicholas Rowe: From The Works of Mr. William Shakespear
William Hazlitt: From Characters of Shakespear's Plays
Anonymous: 'Henry Irving's Shylock'
Elmer Edgar Stoll: From Shylock
Linda Bamber: The Avoidance of Choice: A Woman's Privilege
Alexander Leggatt: The Fourth and Fifth Acts
Sylvan Barnet: 'The Merchant of Venice' on the Stage and Screen

NEWLY ADDED ESSAYS:
Robert Smallwood: The End of "The Merchant of Venice": Four Versions

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Customer Reviews

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See All Sort by: Showing 1 – 20 of 44 Customer Reviews
  • Anonymous

    Posted April 9, 2000

    Great play by Shakespeare

    As an eighth grader, I think this is a great book. It may seem a little confusing to a few people, but it's just a great play! Shakespeare's characters are very entertaining. Shylock's a VERY talkative, vengeful Jew while Portia is an intelligent princess who can easily beat Bassanio with her wit! Also, to me, I guess it was obvious to see that the lead chest contained Portia's picture! Right?! The Merchant of Venice has its funny moments as well as its tragic.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted March 1, 2015

    Nixon

    Goes to Ethics.

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  • Anonymous

    Posted March 1, 2015

    Angelique

    I knee you in the stomach and run to AC!

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  • Anonymous

    Posted March 25, 2014

    Arghhhh there id d Ahhhhhhhh there is soo much old english used in it.

    I dont like it

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 19, 2013

    Decent

    It's gorgeously written, of course, but I didn't much care for any of the major characters and found it a bit tedious. I came upon it as I had to read it for school (which didn't help); but I tremendously prefer King Lear or even The Tempest, which are more complex, less predictable, and more satisfying reads. However, MOV is still worth a read. Also, check out the 2004 movie, which provides better context.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted June 5, 2012

    faulty

    Act I scene ii. I keep getting kicked out from both nook study and my nookcolor around page 23. Don't know if it's a problem with the file or what but I needed this for class and this isn't cutting it. I haven't had a problem with the Midsummer Night's Dream Folger edition though.

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  • Anonymous

    Posted March 1, 2012

    Arg

    I was very confused, the no fear book made much more sense. The only helpful thing was the various criticisms.

    0 out of 1 people found this review helpful.

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