But whilst this muddy vesture of decay Enter Musicians. Come, ho, and wake Diana with a hymn: [Music. Jes. I am never merry when I hear sweeet Since nought so stockish, hard, and full of rage, Enter PORTIA and NERISSA, at a distance. Por. That light we see is burning in my hall. [A tucket sounds. Lor. Your husband is at hand, I hear his trumpet: It looks a little paler: 't is a day Enter BASSANIO, ANTONIO, GRATIANO, and their Bass. We should hold day with the Antipodes, Ner. When the moon shone we did not see the If you would walk in absence of the sun. candle. Por. So doth the greater glory dim the less: Ner. It is your music, madam, of the house. Ner. Silence bestows that virtue on it, madam. Por. Let me give light, but let me not be light: Bass. I thank you, madam; give welcome to This is the man, this is Antonio, Por. You should in all sense be much bound to For, as I hear, he was much bound for you. Ant. No more than I am well acquitted of. Por. Sir, you are very welcome to our house; [GRATIANO and NERISSA seem to talk apart. Ner. What talk you of the posy or the value? If Sweet Portia, If you did know to whom I gave the ring, The clerk will ne'er wear hair on his face that had it. You would not then have parted with the ring. Gra. He will an if he live to be a man. Ner. Ay, if a woman live to be a man. Gra. Now, by this hand, I gave it to a youth; No higher than thyself; the judge's clerk; I could not for my heart deny it him. What man is there so much unreasonable, Bass. No, by mine honor, madam, by my soul. Por. You were to blame, I must be plain with No woman had it, but a civil doctor, you, To part so slightly with your wife's first gift; Bass. Why, I were best to cut my left hand off, Gra. My lord Bassanio gave his ring away Which did refuse three thousand ducats of me, Of my dear friend. What should I say, sweet lady? I was beset with shame and courtesy ; The ring of me to give the worthy doctor. Por. Let not that doctor e'er come near my Since he hath got the jewel that I loved, I'll not deny him any thing I have; No, not my body, nor my husband's bed: Know him I shall, I am well sure of it. It comes from Padua, from Bellario: Lie not a night from home; watch me like Argus: Nerissa there, her clerk. Lorenzo here Now by mine honor, which is yet mine own, Ner. And I his clerk: therefore be well advised Ant. I am the unhappy subject of these quarrels. Por. Sir, grieve not you; you are welcome not In both my eyes he doubly sees himself: And there's an oath of credit. Nay, but hear me: Bass. Ant. I once did lend my body for his wealth; Por. Then you shall be his surety. Give him this: And bid him keep it better than the other. Ant. Here, lord Bassanio; swear to keep this ring. Shall witness I set forth as soon as you, It is almost morning, And yet I am sure you are not satisfied Bass. By heaven, it is the same I gave the doc- Of these events at full. Let us go in ; tor! Por. I had it of him. Pardon me, Bassanio; For by this ring the doctor lay with me. Ner. And pardon me, my gentle Gratiano; For that same scrubbéd boy, the doctor's clerk, In lieu of this, last night did lie with me. Gra. Why, this is like the mending of highways In summer, where the ways are fair enough: What are we cuckolds ere we have deserved it? Por. Speak not so grossly.-You are all amazed: Here is a letter, read it at your leisure; NOTES. "I should be still Plucking the grass, to know where sits the wind.". Act I., Scene 1. By holding up the grass, or any light body that will bend by a gentle blast, the direction of the wind is found. Ascham says: "This way I used in shooting. When I was in the midway betwixt the marks, which was an open place, there I took a feather, or a little grass, and so learned how the wind stood." "Now by two-headed Janus, Nature hath framed strange fellows in her time." Act I., Scene 1. By "two-headed Janus" is meant those antique bifontine heads, which generally represent a young and smiling face, together with an old and wrinkled one; being of Pan and Bacchus, of Saturn and Apollo, &c. These are not uncommon in collections of antiques, and in the books of the antiquaries, as Montfaucon, Spanheim, &c.— WARBURTON. "Some that will evermore peep through their eyes, And laugh, like parrots, at a bag-piper." Act I., Scene 1. This gives us a very picturesque image of the countenance in laughing, when the cyes appear half-shut.- WARBURTON. "Let me play the Fool: With mirth and laughter let old wrinkles come." Act I., Scene 1. Alluding to the common comparison of human life to a stage-play. Gratiano desires his may be the fool's or buffoon's part, which was a constant character in the old farces. "If they should speak, would almost damn those ears, Act I., Scene 1. That is, some people are thought wise while they keep silence, who, when they open their mouths, are such stupid praters, that the hearers cannot help calling them fools, and so incur the judgment denounced in the Gospel. "What think you of the Scottish word, his neighbor!” Act I., Scene 2. The word "Scottish," which is in the quarto, was omitted in the first folio, probably from fear of giving offense to King James or some of his courtiers. "I think the Frenchman became his surety."— Act I., Scene 2. This is supposed to be an allusion to the constant assistance, or rather promises of assistance, that the French gave the Scots in their quarrels with the English. "When did Friendship take A breed for barren metal of his friend!” — Act I., Scene 3. The advocates against usury formerly relied much on the conceit (said to have been started by Aristotle), that money is a barren thing, and cannot, like corn and cattle, multiply itself. In this spirit, Me res says:"Usurie and increase by gold and silver is unlawful, because against Nature. Nature hath made them sterile and barren, and usurie makes them procreative.'' "See to my house, left in the fearful guard Of an unthrifty knave."— Act I., Scene 3. "Fearful guard" is a guard that is not to be trusted, but gives cause of fear. To fear was anciently to give terrors as well as to feel them. As in "KING HENRY IV.," Part 1: "A mighty and a fearful head they are." "And let us make incision for your love, To prove whose blood is reddest, his or mine.” Act II., Scene 1. Red blood is a traditionary sign of courage. Macbeth calls one of his frighted soldiers a "lily-livered boy: again, in this play, cowards are said to have livers as white as milk; and an effeminate and timorous man is termed a milksop. "By God's sonties 't will be a hard way to hit." Act II., Scene 2. "Sonties" is probably a corruption of the word saints, or sauncles. The term sante and sanctity have been proposed, but apparently with less probability. "Well, if any man in Italy have a fairer table, which doth offer to swear upon a book, I shall have a good fortune." Act II., Scene 2. The explanation of this puzzling passage given by Mr. Tyrwhitt seems the most plausible:-"Launcelot, applauding himself for his success with Bassanio, and looking into the palm of his hand (which, by fortune-tellers, is called the table), breaks out into the following reflection:- Well, if any man in Italy have a fairer table, which doth offer to swear upon a book I shall have a good fortune:' that is, 'a table which doth not only promise, but offer to swear upon a book that I shall have good fortune.' He omits the conclusion of the sentence." "And to be in peril of my life with the edge of a feather-bed." Act II., Scene 2. This is supposed to be a cant phrase, to indicate the danger of marrying. "It was not for nothing that my nose fell a bleeding on Black-Monday last."-Act II., Scene 5. "Black-Monday" is Easter Monday, and was so called on this occasion. In the 34th of Edward III. (1360), the 14th of April, and the morrow after Easter-day, King Edward with his host lay before tho city of Paris; which day was full dark of mist and hail, and so bitter cold that many men died on their horses' backs with the cold.- STOWE. It appears from a passage in Lodge's "ROSALYNDE," that some superstitious belief was annexed to the accident of bleeding at the nose:-"As he stood gazing, his nose on a sudden bled, which made him conjecture it was some friend of his." "Now by my hood, a Gentile, and no Jew." - Act II., Scene 6. A jest arising from the ambiguity of the word "Gentile," which signifies both a heathen and one well born. "That 'many' may be meant By the fool multitude."- Act II., Scene The Prince of Arragon intends to say:-"By that 'many' may be meant the foolish multitude." The fourth folio first introduced a phraseology more agreeable to our ears at present:-"Of the fool "The Duke cannot deny the course of law; As this passage is a litio perplexed in its construction, it may not be improper to explain it :-"If (says Antonio) the Duke stop the course of law, the denial of those rights to strangers, which render their abode at Venice so commodious and agreeable to them, will much impeach the justice of the state," &c. In the "HISTORYE OF multitude." But change, merely for the sake of elegance, is always ITALYE," by W. Thomas (1567), there is a section "On the libertie of dangerous. Many modes of speech were familiar in Shakspeare's age that are now no longer used. I have met with many examples of this kind of phraseology. So in Plutarch's Life of Cæsar, as translated by North (1575):-"He answered that these fair long-haired men made him not afraid, but the lean and whitely-faced fellows; meaning that by Brutus and Cassius."-MALONE. "It was my turquoise; I had it of Leah when I was a bachelor." Act III., Scene 1. The precious stone here alluded to is found in the veins of the mountains on the confines of Persia, to the east. In ancient times its pecuniary value was much enhanced by the magic properties attributed to it, one of which was that it faded or brightened its hue as the health of the wearer increased or grew less. Other virtues were also imputed to it, all of which were either monitory or preserv ative to the wearer. "O! those naughty times Put bars between the owners and their rights; Let fortune go to hell for it, not I"-Act III., Scene 2. "So may the outward shows be least themselves." Act III., Scene 2. Bassanio here begins abruptly; the first part of the argument has passed in his mind. The old stage direction has been retained, as regards this particular:-" Music, whilst Bassanio comments on the caskets to himself." "Thus ornament is but the guiled shore To a most dangerous sea.” -Act III., Scene 2. By the "guiled shore" is meant the treacherous or beguiling shore. The passive for the active participle. "But her eyes, How could he see to do them having made one, Straungers at Venice." Capell, with great plausibility, proposes to read the passage thus:- For [because of] the commodity that strangers have "T will much impeach the justice of the state." "Which makes me think that this Antonio, Must needs be like my lord.” —Act III., Scene 4. The term lover, in Shakspeare's time, was often applied to those of the same sex who had an esteem for each other. Ben Jonson concludes one of his letters to Dr. Donne, by telling him he is his true lover. In "CORIOLANUS," Menenius says, "I tell thee, fellow, thy general is my lover." Many similar instances might be adduced. "Some men there are love not a gaping pig.” — Act IV., Scene 1. By a gaping pig, Shakspeare, I believe, meant a pig prepared for the table; for in that state is the epithet gaping most applicable to this animal. So in Fletcher's "Elder Brother:"-" And they stood gaping like a roasted pig." A passage in one of Nashe's pamphlets (which perhaps furnished our author with his instance) may serve to confirm the observation:-"The causes conducting unto wrath are as diverse as the actions of a man's life. Some will take on like a Sotericus, the surgeon, That is, "unfurnished" with a companion or fellow. In Fletch- madman, if they see a pig come to the table. er's "LOVER'S PROGRESS," Alcidon says to Clarange: "You are a noble gentleman Will 't please you to bring a friend? We are two of us, "Lorenzo and Salanio, welcome hither."— Act III., Scene 2. The friend who brings Bassanio the evil tidings of Antonio's danger, is in most modern editions designated SALERIO, in compliance with the example of Steevens. But we are clearly of opinion, with Capell, and a contemporary editor, that this is no new character, but merely another term for one of our old acquaintances Salarino and Solanio, whose names are given by the original folio in the most perplexing variety, both at length and in abridgment. was choleric at the sight of a sturgeon," &c.— MALONE. "You have among you many a purchased slave." Act IV., Scene 1. Johnson observes:-"This argument, considered as used to the particular persons, seems conclusive. I see not how Venetians or Englishmen, while they practice the purchase and sale of slaves, can much enforce or demand the law of doing to others as we would that they should do to us." The rugged philanthropist, we may venture to add, would have been proud to commemorate, had he lived in these days, the long and strenuous efforts by which the stigma of sanctioning slavery has been totally and finally removed from his countrymen. ין |