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The Project Gutenberg eBook, The Merchant of Venice, by William Shakespeare, Edited by Charles Kean

SHAKESPEARE'S PLAY OF

THE MERCHANT OF VENICE,

ARRANGED FOR REPRESENTATION AT

THE PRINCESS'S THEATRE,

WITH HISTORICAL AND EXPLANATORY NOTES,

CHARLES KEAN, F.S.A.,

AS FIRST PERFORMED ON

SATURDAY, JUNE 12TH, 1858.

ENTERED AT STATIONERS' HALL.

DRAMATIS PERSONAE.

AS FIRST PERFORMED, SATURDAY, JUNE 12, 1858.

THE INCIDENTAL MUSIC will be sung by Miss POOLE, Miss LEFFLER, Mr. J. COLLETT, Mr. T. YOUNG, and Mr. WALLWORTH.

Magnificoes of Venice, Officers of the Court of Justice, Gaoler, Servants, and other Attendants.

SCENE.—Partly at VENICE; and partly at BELMONT, the Seat of PORTIA, on the Continent.

THE SCENERY Painted by Mr. GRIEVE and Mr. TELBIN, Assisted by Mr. W. GORDON, Mr. F. LLOYDS, Mr. CUTHBERT, Mr. DAYES, &c.

PREFACE.

Venice, "the famous city in the sea," rising like enchantment from the waves of the Adriatic, appeals to the imagination through a history replete with dramatic incident; wherein power and revolution—conquest and conspiracy—mystery and romance—dazzling splendour and judicial murder alternate in every page. Thirteen hundred years witnessed the growth, maturity, and fall of this once celebrated city; commencing in the fifth century, when thousands of terrified fugitives sought refuge in its numerous islands from the dreaded presence of Attila; and terminating when the last of the Doges, in 1797, lowered for ever the standard of St. Mark before the cannon of victorious Buonaparte. Venice was born and died in fear. To every English mind, the Queen of the Adriatic is endeared by the genius of our own Shakespeare. Who that has trod the great public square, with its mosque-like cathedral, has not pictured to himself the forms of the heroic Moor and the gentle Desdemona? Who that has landed from his gondola to pace the Rialto, has not brought before his "mind's eye," the scowling brow of Shylock, when proposing the bond of blood to his unsuspecting victim? Shakespeare may or may not have derived his plot of The Merchant of Venice, as some suppose, from two separate stories contained in Italian novels; but if such be the fact, he has so interwoven the double interest, that the two currents flow naturally into a stream of unity.

In this play Shakespeare has bequeathed to posterity one of his most perfect works—powerful in its effect, and marvellous in its ingenuity. While the language of the Jew is characterized by an assumption of biblical phraseology, the appeal of Portia to the quality of mercy is invested with a heavenly eloquence elevating the poet to sublimity.

From the opening to the closing scene,—from the moment when we hear of the sadness, prophetic of evil, which depresses the spirit of Antonio, till we listen at the last to the "playful prattling of two lovers in a summer's evening," whose soft cadences are breathed through strains of music,—all is a rapid succession of hope, fear, terror, and gladness; exciting our sympathies now for the result of the merchant's danger; now for the solution of a riddle on which hangs the fate of the wealthy heiress; and now for the fugitive Jessica, who resigns her creed at the shrine of womanly affection.

In the production of The Merchant of Venice it has been my object to combine with the poet's art a faithful representation of the picturesque city; to render it again palpable to the traveller who actually gazed upon the seat of its departed glory; and, at the same time, to exhibit it to the student, who has never visited this once

The far-famed place of St. Mark, with its ancient Church, the Rialto and its Bridge, the Canals and Gondolas, the Historic Columns, the Ducal Palace, and the Council Chamber, are successively presented to the spectator. Venice is re-peopled with the past, affording truth to the eye, and reflection to the mind.

The introduction of the Princes of Morocco and Arragon at Belmont, hitherto omitted, is restored, for the purpose of more strictly adhering to the author's text, and of heightening the interest attached to the episode of the caskets.

The costumes and customs are represented as existing about the year 1600, when Shakespeare wrote the play. The dresses are chiefly selected from a work by Cesare Vecellio, entitled "Degli Habiti Antichi e Moderni di diverse Parti del Mondo. In Venetia, 1590;" as well as from other sources to be found in the British Museum, whence I derive my authority for the procession of the Doge in the first scene. If the stage is to be considered and upheld as an institution from which instructive and intellectual enjoyment may be derived, it is to Shakespeare we must look as the principal teacher, to inculcate its most valuable lessons. It is, therefore, a cause of self-gratulation, that I have on many occasions been able, successfully, to present some of the works of the greatest dramatic genius the world has known, to more of my countrymen than have ever witnessed them within the same space of time; and let me hope it will not be deemed presumptuous to record the pride I feel at having been so fortunate a medium between our national poet and the people of England.

ACT I.

SCENE I.—VENICE.(A) SAINT MARK'S PLACE.(B)

Various groups of Nobles, Citizens, Merchants, Foreigners, Water-Carriers, Flower Girls, &c., pass and repass. Procession of the Doge, in state, across the square.^[1]

Bas. 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.

FOOTNOTES:

SCENE II.—BELMONT. A ROOM IN PORTIA'S HOUSE.

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 small happiness, therefore, to be seated in the mean; superfluity comes sooner by white hairs,^[17] but competency lives longer.

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. But this reasoning is not in the fashion to choose me a husband:—O me, the word choose! I may neither choose whom I would, nor refuse whom I dislike, so is the will of a living daughter curb'd 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 you 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.

Por. Ay, that's a colt, indeed, for he doth nothing but talk of his horse,^[19] and he makes it a great approbation of his own good parts that he can shoe him himself.

Por. He doth nothing but frown; as who should say, 'An 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 to be married to a death's head with a bone in his mouth, than to either of these. Heaven defend me from these two!

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.

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. 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 wish 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?

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.—How now?—What news?

Ser. The four strangers seek you, madam, to take their leave: and there is a fore-runner 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 heart as I can bid the other four farewell, I should be glad of his approach.

FOOTNOTES:

SCENE III.—THE MERCHANT'S EXCHANGE ON THE RIALTO ISLAND.(c) SAN JACOPO, THE MOST ANCIENT CHURCH IN VENICE, OCCUPIES ONE SIDE OF THE SQUARE.

Shy. Oh 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, squander'd abroad.^[22] But ships are but boards, sailors but men: there be land rats and water rats, land thieves and water 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.

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

Shy. Yes, to smell pork; to eat of the habitation which your prophet, the Nazarite, conjured the devil into!^[23] 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?

FOOTNOTES:

SCENE IV.—SALOON OF THE CASKETS IN PORTIA'S HOUSE, AT BELMONT.

Flourish of Cornets. Enter the PRINCE OF MOROCCO, and his Train; PORTIA, NERISSA, and other of her Attendants.

FOOTNOTES:

HISTORICAL NOTES TO ACT FIRST.

(A) The foundation of Venice is attributed to the inhabitants of the surrounding districts, who fled from the cruelty of Attila, King of the Huns, and took refuge among the islets at the mouth of the Brenta. Here, about the middle of the fifth century, they founded two small towns, called Rivoalto and Malmocco, and, being in a manner shut out from all other modes of employment, naturally devoted themselves to commerce. In this way they soon became prosperous, and their numbers increased so rapidly, that in the year 697 they made application to the Emperor to be elected into a body politic, and obtained authority to elect a chief, to whom they gave the name of Duke or Doge. The town, continuing to increase, gradually extended its buildings to the adjacent islands, and, at the same time, acquired considerable tracts of territory on the mainland, then inhabited by the Veneti, from whence the rising city is supposed to have borrowed its name of Venetia or Venice.

(B) This is the heart of Venice, and is one of the most imposing architectural objects in Europe. Three of the sides are occupied by ranges of lofty buildings, which are connected by a succession of covered walk; or arcades. The church of St Mark, founded in the year 828, closes up the square on the east. The lofty Campanile, or Bell-tower, over 300 feet in height, was begun A.D. 902, and finished in 1155.

In the reign of Justiniani Participazio, A.D. 827, the son and Successor of Angelo, undistinguished by events of more important character, the Venetians became possessed of the relics of that saint to whom they ever afterwards appealed as the great patron of their state and city. These remains were obtained from Alexandria by a pious stratagem, at a time when the church wherein they were originally deposited was about to be destroyed, in order that its rich marbles might be applied to the decoration of a palace. At that fortunate season, some Venetian ships (it is said no less than ten, a fact proving the prosperous extent of their early commerce) happened to be trading in that port; and their captains, though not without much difficulty, succeeded in obtaining from the priests, who had the custody of the holy treasure, its deliverance into their hands, in order that it might escape profanation. It was necessary, however, that this transfer should be made in secrecy; for we are assured by Sabellico, who relates the occurrence minutely, that the miracles which had been daily wrought at the saint's shrine had strongly attached the populace to his memory. The priests carefully opened the cerements in which the body was enveloped; and considering, doubtless, that one dead saint possessed no less intrinsic virtue and value than another, they very adroitly substituted the corpse of a female, Sta. Claudia, in the folds which had been occupied by that of St. Mark. But they had widely erred in their graduation of the scale of beatitude. So great was the odour of superior sanctity, that a rich perfume diffused itself through the church at the moment at which the grave-clothes of the evangelist were disturbed; and the holy robbery was well nigh betrayed to the eager crowd of worshippers, who, attracted by the sweet smell, thronged to inspect the relics, and to ascertain their safety. After examination, they retired, satisfied that their favourite saint was inviolate; for the slit which the priests had made in his cerements was behind and out of sight. But the Venetians still had to protect the embarkation of their prize. For this purpose, effectually to prevent all chance of search, they placed the body in a large basket stuffed with herbs and covered with joints of pork. The porters who bore it were instructed to cry loudly 'Khanzri Khanzir!^[43] and every true Mussulman whom they met, carefully avoided the uncleanness with which he was threatened by contact with this forbidden flesh. Even when once on board, the body was not yet quite safe; for accident might reveal the contents of the basket; it was therefore wrapt in one of the sails, and hoisted to a yard-arm of the main-mast, till the moment of departure. Nor was this precaution unnecessary; for the unbelievers instituted a strict search for contraband goods before the vessel sailed. During the voyage, the ship was in danger from a violent storm; and but for the timely appearance of the saint, who warned the captain to furl his sails, she would inevitably have been lost. The joy of the Venetians, on the arrival of this precious cargo, was manifested by feasting, music, processions, and prayers. An ancient tradition was called to mind, that St. Mark, in his travels, had visited Aquileia; and having touched also at the Hundred Isles, at that time uninhabited, had been informed, in a prophetic vision, that his bones should one day repose upon their shores. Venice was solemnly consigned to his protection. The saint himself, or his lion, was blazoned on her standards and impressed on her coinage; and the shout of the populace, whether on occasions of sedition or of joy, and the gathering cry of the armies of the republic in battle was, henceforward, 'Viva San Marco!'—Sketches of Venetian History.

(C) This ancient Exchange "where merchants most do congregate," is situated on the Rialto Island, its name being derived from "riva alta," "high shore." It is a square in the immediate vicinity of the Rialto Bridge, and contains the Church of San Jacopo, the first sacred edifice built in Venice. The original church was erected in the year 421, and the present building in 1194, and was restored in 1531. This island, being the largest and most elevated, became the first inhabited, and is, therefore, the most ancient part of Venice. The Exchange was held under the arcades, facing the church, and was daily crowded with those connected with trade and commerce. It is now occupied as a vegetable market.

(D) Vecellio informs us that the Jews of Venice differed in nothing, as far as regarded dress, from Venetians of the same occupation, with the exception of a yellow, or orange tawney coloured bonnet, which they were compelled to wear by order of government.

Shakespeare is supposed to have taken the name of his Jew from an old pamphlet, entitled "Caleb Shillocke, his prophesie; or the Jewes Prediction."

About the time that Shakespeare lived, Venice had commercial dealings with all the civilized nations of the world; and Cyprus, Candia, and the Morea were subject to her government. Merchants from all countries congregated in Venice, and received every possible encouragement from the authorities.

The Jews, under the sanction of government, were the money lenders, and were, consequently, much disliked, as well as feared, by their mercantile creditors. They indulged in usury to an enormous extent, and were immensely rich.

ACT II.

SCENE I.—VENICE.(A) EXTERIOR OF SHYLOCK'S HOUSE.

Lau. Certainly my conscience will serve me to run from this Jew, my master: The fiend is at mine elbow, and tempts me; saying to me,—Gobbo, Launcelot Gobbo, good Launcelot, or good Gobbo, or good Launcelot Gobbo, use your legs, take the start, run away:—My conscience says,—No: take heed, honest Launcelot; take heed, honest Gobbo: or (as aforesaid) honest Launcelot Gobbo; do not run: scorn running with thy heels. Well the most courageous fiend bids me pack. Via! says the fiend; Away! says the fiend, for the heavens;^[44] rouse up a brave mind, says the fiend, and run. Well, my conscience, hanging about the neck of my heart, says very wisely to me, my honest friend, Launcelot, being an honest man's son, or rather an honest woman's son;—for, indeed, my father did something smack, something grow to, he had a kind of taste;—well, my conscience says, Launcelot, budge not; budge, says the fiend; budge not, says my conscience. Conscience, say I, you counsel well; fiend, say I, you counsel well; to be ruled by my conscience I should stay with the Jew, my master, who (Heaven bless the mark!) is a kind of devil; and to run away from the Jew I should be ruled by the fiend, who, saving your reverence, is the devil himself. Certainly, the Jew is the very devil incarnation; and in my conscience, my conscience is a kind of hard conscience, to offer to counsel me to stay with the Jew. The fiend gives the more friendly counsel: I will run, fiend; my heels are at your commandment, I will run.

Lau. (aside.) O heavens, this is my true-begotten father! who, being more than sand-blind, high-gravel blind,^[45] knows me not: I will try conclusions ^[46] with him.

Lau. Turn upon your right hand at the next turning, but, at the next turning of all, on your left; marry, at the very next turning, turn of no hand, but turn down indirectly to the Jew's house.^[47]

Gob. 'Twill be a hard way to hit. Can you tell me whether one Launcelot that dwells with him, dwell with him, or no?

Lau, Talk you of young master Launcelot?—mark me, now—(aside.)—now will I raise the waters.^[48] Talk you of young master Launcelot?

Gob. No master, sir: but a poor man's son: his father, though I say it, is an honest exceeding poor man, and, Heaven be thanked, well to live.

Lau. Ergo, master Launcelot; talk not of master Launcelot, father; for the young gentleman (according to fates and destinies, and such odd sayings, the sisters three, and such branches of learning), is, indeed, deceased; or, as you would say in plain terms, gone to heaven.

Gob. Marry, Heaven forbid! the boy was the very staff of my age, my very prop.

Lau. Do I look like a cudgel, or a hovel-post, a staff, or a prop?—Do you know me, father?

Gob. Alack the day, I know you not, young gentleman; but, I pray you tell me, is my boy (rest his soul!) alive or dead?

Lau. Nay, indeed, if you had your eyes, you might fail of the knowing me: it is a wise father that knows his own child. Well, old man, I will tell you news of your son: Give me your blessing: (kneels.) Truth will come to light; murder cannot be hid long; a man's son may; but, in the end, truth will out.

Lau. Pray you, let's have no more fooling about it, but give me your blessing; I am Launcelot, your boy that was, your son that is, your child that shall be.

Lau. I know not what I shall think of that; but I am Launcelot, the Jew's man; and I am sure Margery, your wife, is my mother.

Gob. Her name is Margery, indeed: I'll be sworn if thou be Launcelot, thou art mine own flesh and blood. What a beard hast thou got: thou hast got more hair on thy chin than Dobbin, my phill-horse,^[50] has on his tail.

Lau. It should seem, then, that Dobbin's tail grows backward; I am sure he had more hair of his tail than I have of my face, when I last saw him.

Gob. Lord, how art thou changed! How dost thou and thy master agree? I have brought him a present.

Lau. (rises.) Give him a present! give him a halter: I am famished in his service; you may tell every finger I have with my ribs. Father, I am glad you are come: give me your present to one master Bassanio, who, indeed, gives rare new liveries; if I serve not him, I will run as far as Heaven has any ground.—O rare fortune! here comes the man;—to him, father; for I am a Jew if I serve the Jew any longer.

Bas. See these letters deliver'd; put the liveries to making; and desire Gratiano to come anon to my lodging.

Lau. Not a poor boy, sir; but the rich Jew's man; that would, sir, as my father shall specify.

Lau. Indeed, the short and the long is, I serve the Jew, and have a desire as my father shall specify.

Gob. His master and he (saving your worship's reverence) are scarce cater-cousins.

Lau. To be brief, the very truth is, that the Jew having done me wrong, doth cause me, as my father, being I hope an old man, shall frutify unto you.

Gob. I have here a dish of doves, that I would bestow upon your worship; and my suit is——

Lau. In very brief, the suit is impertinent ^[51] to myself, as your worship shall know by this honest old man; and, though I say it, though old man, yet poor man, my father.

Lau. The old proverb is very well parted between my master, Shylock, and you, sir; you have the grace of Heaven, sir, and he hath—— enough.

Lau. Father, in:—(Exit OLD GOBBO.) I cannot get a service, no!—I have ne'er a tongue in my head!—Well; (looking on his palm) if any man in Italy have a fairer table;^[53] which doth offer to swear upon a book I shall have good fortune!^[54] Go to, here's a simple line of life!^[55] here's a small trifle of wives: Alas, fifteen wives is nothing; eleven widows and nine maids, is a simple coming in for one man: and then, to 'scape drowning thrice; and to be in peril of my life with the edge of a feather-bed,^[56] here are simple 'scapes! Well, if fortune be a woman she's a good wench for this gear.—I'll take my leave of the Jew in the twinkling of an eye.

Bas. I pray thee, good Leonardo, think on this; These things being bought and orderly bestow'd, Return in haste, for I do feast to-night My best-esteem'd acquaintance: hie thee, go.

Lau. Marry, sir, to bid my old master the Jew to sup to-night with my new master the Christian.

Lor. Hold here, take this:—tell gentle Jessica, I will not fail her;—speak it privately; go.

Lau. 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 ^[65] on Black Monday(B) last, at six o'clock i'the morning, falling out that year on Ash-Wednesday was four year in the afternoon.

HISTORICAL NOTES TO ACT SECOND.

(A) Venice occupies 72 islands. There are 306 canals, traversed by innumerable gondolas. The gondolas introduced in this scene are copied from paintings of the same date as when the action of the play is supposed to occur, and are, consequently, rather varied in shape from those now seen in Venice. Besides the great squares of St. Mark, and the adjoining Piazetta before the Doge's Palace, the city has numerous narrow streets, or rather lanes, with small open spaces in front of the churches, or formed by the termination of several alleys, leading to a bridge. It is one of these spaces that is represented in the second act.

(B) "Black Monday" is Easter Monday, and was so called on this occasion. In the 34th of Edward III. (1360), the 14th April, and the morrow after Easter Day, King Edward, with his host, lay before the City of Paris, which day was full dark of mist and hail, and so bitter cold that many men died on their horse's backs with the cold.—Stowe.

FOOTNOTES:

ACT III.

SCENE I.—SALOON OF THE CASKETS IN PORTIA'S HOUSE AT BELMONT.

Flourish of Trumpets. Enter the PRINCE OF ARRAGON, PORTIA, and their Trains.

FOOTNOTES:

SCENE II.—RIALTO BRIDGE (A), AND GRAND CANAL.

Salar. Marry, well remember'd: I reason'd ^[78] with a Frenchman yesterday, who told me that Antonio hath a ship of rich lading wreck'd on the narrow seas that part the French and English,—the Goodwins, I think they call the place—a very dangerous flat and fatal, where the carcases of many a tall ship lie buried, as they say, if my gossip report be an honest woman of her word.

Sal. I would she were as lying a gossip in that, as ever knapp'd ginger,^[79] or made her neighbours believe she wept for the death of a third husband: But it is true, that the good Antonio, the honest Antonio,—O, that I had a title good enough to keep his name company!—

Sal. Let me say amen betimes, lest the devil cross my prayer; for here he comes in the likeness of a Jew.

Sal. That's certain. I, for my part, knew the tailor that made the wings she flew withal.

Salar. And Shylock, for his own part, knew the bird was fledg'd; and then it is the complexion of them all to leave the dam.

Salar. But tell us, do you hear whether Antonio have had any loss at sea or no?

Shy. There I have another bad match: a bankrupt, a prodigal, who dare scarce show his head on the Rialto; a beggar, that used to come so smug upon the mart.—Let him look to his bond: he was wont to call me usurer;—let him look to his bond: he was wont to lend money for a Christian courtesy;—let him look to his bond.

Sal. Why, I am sure, if he forfeit, thou wilt not take his flesh? What's that good for?

Shy. To bait fish withal: if it will feed nothing else it will feed my revenge. He hath disgraced me, and hindered me half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies: and what's his reason? I am a Jew. Hath not a Jew eyes? hath not a Jew hands, organs, dimensions, senses, affections, passions? fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die? and if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? revenge: If a Christian wrong a Jew, what should his sufferance be by Christian example? why, revenge. The villany you teach me I will execute: and it shall go hard but I will better the instruction.

Salar. Here comes another of the tribe; a third cannot be matched, unless the devil himself turn Jew.

Shy. Why, there, there, there, there! a diamond gone, cost me two thousand ducats in Frankfort! The curse never fell upon our nation till now; I never felt it till now:—two thousand ducats in that; and other precious, precious jewels.—I would my daughter were dead at my foot, and the jewels in her ear! 'would she were hears'd at my foot, and the ducats in her coffin! No news of them?—Why, so:—and I know not what's spent in the search: Why, thou loss upon loss! the thief gone with so much, and so much to find the thief; and no satisfaction, no revenge: nor no ill luck stirring but what lights o' my shoulders; no sighs but o' my breathing; no tears but o' my shedding.

Shy. I thank thee, good Tubal;—Good news, good news: ha! ha!—Where? in Genoa?

Shy. Thou stick'st a dagger in me:—I shall never see my gold again: Fourscore ducats at a sitting! fourscore ducats!

Tub. There came divers of Antonio's creditors in my company to Venice, that swear he cannot choose but break.

Shy. I am very glad of it: I'll plague him; I'll torture him; I am glad of it.

Shy. Out upon her! Thou torturest me, Tubal: it was my turquoise;^[80] I had it of Leah, when I was a bachelor: I would not have given it for a wilderness of monkeys.

Shy. Nay, that's true, that's very true: Go, Tubal, fee me an officer, bespeak him a fortnight before: I will have the heart of him, if he forfeit; for were he out of Venice, I can make what merchandize I will. Go, Tubal, and meet me at our synagogue: go, good Tubal; at our synagogue, Tubal.

FOOTNOTES:

SCENE III.—SALOON OF THE CASKETS, IN PORTIA'S HOUSE, AT BELMONT.

'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 me, 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.'

FOOTNOTES:

SCENE IV.—VENICE. THE COLUMNS OF ST. MARK. (c).

FOOTNOTES:

SCENE V.—SALOON OF THE CASKETS IN PORTIA'S HOUSE AT BELMONT.

HISTORICAL NOTES TO ACT THIRD.

(A) The present stone structure superseded an older one of wood. This celebrated edifice was commenced in 1588.

(B) That the swan uttered musical sounds at the approach of death was credited by Plato, Chrysippus, Aristotle, Euripides, Philostratus, Cicero, Seneca, and Martial. Pliny, Ælian, and Athenæus, among the ancients, and Sir Thomas More among the moderns, treat this opinion as a vulgar error. Luther believed in it. See his Colloquia, par. 2, p. 125, edit. 1571, 8vo. Our countryman, Bartholomew Glanville, thus mentions the singing of the swan: "And whan she shal dye and that a fether is pyght in the brayn, then she syngeth, as Ambrose sayth," De propr. rer. 1. xii., c. 11. Monsieur Morin has written a dissertation on this subject in vol. v. of the Mem. de l'acad. des inscript. There are likewise some curious remarks on it in Weston's Specimens of the conformity of the European languages with the Oriental, p. 135; in Seelen Miscellanea, tom. 1. 298; and in Pinkerton's Recollections of Paris, ii. 336.—Douce's illustrations.

(C) These two magnificent granite columns, which adorn the Piazzetta of St. Mark, on the Molo or Quay, near the Doge's Palace, were among the trophies brought by Dominico Michieli on his victorious return from Palestine in 1125; and it is believed that they were plundered from some island in the Archipelago. A third pillar, which accompanied them, was sunk while landing. It was long before any engineer could be found sufficiently enterprising to attempt to rear them, and they were left neglected on the quay for more than fifty years. In 1180, however, Nicolo Barattiero ^[A], a Lombard, undertook the task, and succeeded. Of the process which he employed, we are uninformed; for Sabellico records no more than that he took especial pains to keep the ropes continually wetted, while they were strained by the weight of the huge marbles. The Government, more in the lavish spirit of Oriental bounty, than in accordance with the calculating sobriety of European patronage, had promised to reward the architect by granting whatever boon, consistent with its honour, he might ask.

It may be doubted whether he quite strictly adhered to the requisite condition, when he demanded that games of chance, hitherto forbidden throughout the capital, might be played in the space between the columns: perhaps with a reservation to himself of any profits accruing from them. His request was granted, and the disgraceful monopoly became established; but afterward, in order to render the spot infamous, and to deter the population from frequenting it, it was made the scene of capital executions; and the bodies of countless malefactors were thus gibbeted under the very windows of the palace of the chief magistrate. A winged lion in bronze, the emblem of St. Mark, was raised on the summit of one of these columns; and the other was crowned with a statue of St. Theodore, a yet earlier patron of the city, armed with a lance and shield, and trampling on a serpent. A blunder, made by the statuary in this group, has given occasion for a sarcastic comment from Amelot de la Houssaye. The saint is sculptured with the shield in his right hand, the lance in his left; a clear proof, says the French writer, of the unacquaintance of the Venetians with the use of arms; and symbolical that their great council never undertakes a war of its own accord, nor for any other object than to obtain a good and secure peace. The satirist has unintentionally given the republic the highest praise which could flow from his pen. Happy, indeed, would it have been for mankind, if Governments had never been actuated by any other policy. De la Houssaye informs us also that the Venetians exchanged the patronage of St. Theodore for that of St. Mark, from like pacific motives; because the first was a soldier and resembled St. George, the tutelary idol of Genoa.—Sketches of Venetian History.

FOOTNOTES:

ACT IV.

SCENE I.—VENICE. A COURT OF JUSTICE.(A)

The DUKE, (B) the MAGNIFICOES ^[95] ANTONIO, BASSANIO, GRATIANO, SALARINO, SALANIO, and others.

[Herald reads] "Your grace shall understand, that, at the receipt of your letter, I am very sick; but that in the instant that your messenger came, in loving visitation was with me a young doctor of Home; his name is Balthasar: I acquainted him with the cause in controversy between the Jew and Antonio, the merchant: we turned o'er many books together; he is furnished with my opinion; which, better'd with his own learning (the greatness whereof I cannot enough commend), comes with him, at my importunity, to fill up your grace's request in my stead. I beseech you, let his lack of years be no impediment to let him lack a reverend estimation; for I never knew so young a body with so old a head. I leave him to your gracious acceptance, whose trial shall better publish his commendation."

—a gaping pig; By a gaping pig, Shakespeare, 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 stand 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 madman, if they see a pig come to the table. Sotericus, the surgeon, was cholerick at the sight of sturgeon," &c. Pierce Pennylesse his Supplication to the Devil, 1592.—MALONE.

SCENE II.—VENICE. THE FOSCARI GATE OF THE DUCAL PALACE, LEADING TO THE GIANT'S STAIRCASE.

Por. Inquire the Jew's house out, give him this deed, And let him sign it; we'll away to-night, And be a day before our husbands home: This deed will be well welcome to Lorenzo.

Gra. Fair Sir, you are well overtaken: My lord Bassanio, upon more advice,^[112] Hath sent you here this ring; and doth entreat Your company at dinner.

Por. That cannot be: This ring I do accept most thankfully, And so, I pray you, tell him: Furthermore, I pray you, show my youth old Shylock's house.

Por. Thou may'st, I warrant. We shall have old swearing,^[113] That they did give the rings away to men; But we'll outface them, and outswear them, too. Away, make haste; thou know'st where I will tarry.

FOOTNOTES:

HISTORICAL NOTES TO ACT FOURTH.

(A) This scene represents the Sala dei Pregádi, or Hall of the Senators. In Venice the tribunal for criminal cases was composed of forty judges, ordinarily presided over by one of three selected from the Council of the Doge, and draughted for the most part, if not wholly, from the members of the Senate. The Doge, who on all occasions was attended by his particular officers, had the right of sitting in the councils, or on the tribunal. The authority for the six senators in red (in this scene) is taken from the picture at Hampton Court Palace, where the Doge of Venice, in state, is receiving Sir Henry Wootton, ambassador from James the First. The picture is by Odoardo Fialletti, better known as an engraver than as a painter, and who was living at Venice when Sir Henry Wootton was ambassador there.

(B) The first Doge, or Duke of Venice, was Paolo Luca Anafesto, elected A.D. 697, and the last was Luigi Manini, who yielded the city, which had just completed the eleventh century of its sway, to the victorious arms of Buonaparte, in 1797.

(C) We are not to imagine the word royal to be only a ranting, sounding epithet. It is used with great propriety, and shows the poet well acquainted with the history of the people whom he here brings upon the stage. For when the French and Venetians, in the beginning of the thirteenth century, had won Constantinople, the French, under the Emperor Henry, endeavoured to extend their conquests into the provinces of the Grecian Empire on the Terra firma; while the Venetians, who were masters of the sea, gave liberty to any subjects of the republic, who would fit out vessels, to make themselves masters of the isles of the Archipelago, and other maritime places; and to enjoy their conquests in sovereignty: only doing homage to the republic for their several principalities. By virtue of this licence, the Sanudi, the Justinianii, the Grimaldi, the Summaripi, and others, all Venetian merchants, erected principalities in several places of the Archipelago (which their descendants enjoyed for many generations), and thereby became truly and properly royal merchants, which, indeed was the title generally given them all over Europe. Hence, the most eminent of our own merchants (while publick spirit resided amongst them, and before it was aped by faction), were called royal merchants.—Warburton.

This epithet was in our poet's time more striking and better understood, because Gresham was then commonly dignified with the title of the royal merchant.—Johnson.

(D) This judgment is related by Gracian, the celebrated Spanish Jesuit, in his Hero, with a reflection at the conclusion of it;—

"The vivacity of that great Turke enters into competition with that of Solomon: a Jew pretended to cut an ounce of the flesh of a Christian upon a penalty of usury; he urged it to the Prince, with as much obstinacy, as perfidiousness towards God. The great Judge commanded a pair of scales to be brought, threatening the Jew with death if he cut either more or less: And this was to give a sharp decision to a malicious process, and to the world a miracle of subtilty."—The Hero, p. 24, &c.

Gregorio Leti, in his Life of Sixtus V., has a similar story. The papacy of Sixtus began in 1583. He died Aug. 29, 1590.—Steevens

ACT V.

SCENE I.—BELMONT. AVENUE TO PORTIA'S HOUSE.

Lau. Tell him, there's a post come from my master, with his horn full of good news; my master will be here ere morning.

FOOTNOTES:

At a very early period, Venice had begun to trade with Constantinople and the Levant, and though subjected to formidable competition from the Pisans and Genoese, succeeded in engrossing the far largest share of the traffic of the East. The Crusades now commenced, and giving lucrative employment to their shipping in the conveyance of troops, and the munitions of war, greatly increased both their wealth and power, and enabled them to make large additions to their territory. In early times, the Doges had been elected by the popular voice, and held their office by a very precarious tenure; for, in the case of any reverse or general dissatisfaction from any other cause, they were not only deposed, but often lost their lives, either by open violence, or assassination. The disorders thus occasioned rose to such a height in the 12th century, that a change in the form of government became necessary. For this purpose the city was divided into six districts, each of which nominated two delegates, or twelve in all; these twelve nominated 470 representatives, who concentrated in themselves all the powers which had been previously exercised by the popular assemblies. At the same time, a senate was appointed, and the Doge was provided with a council of six, who were nominally to assist, but, if so disposed, could easily find means to thwart him. The 470 representatives formed the grand council, and receiving their appointments annually from 12 delegates chosen by the popular voice, continued, in fact, notwithstanding the change in form, to be dependent upon it. The next change, however, set them free. After a severe struggle, the 470, in 1319, succeeded in making their office hereditary, and thus converted what had previously been a democracy into one of the most rigid forms of aristocracy. The evils of the system soon developed themselves. The 470, now hereditary nobles, became as jealous of each other as they had formerly been of the people, and while appropriating all the great offices of the state, had recourse to various methods, many of them of the most despotic nature, to prevent anyone of the great families from acquiring a preponderating influence. Among these arrangements was the institution of a council of 10, selected from the grand council, and subsequently, in 1454, the selection of three state inquisitors from the council of 10. These inquisitors, in whom all the powers of the state were absolutely vested, justified the name which the cruel bigotry of the Romish Church has established. This rigid despotism had, however, the effect of giving a stern unity of purpose to the proceedings of government, and doubtless contributed in some degree to consolidate the various accessions of territory which had been made into one whole. At this period the Venetians were masters of the coast of Dalmatia, and the islands of Cyprus, Candia, and a great part of the Morea, and had almost monopolized the trade of Egypt and the East. The first great attempt to humble Venice was made in the beginning of the 16th century, when the famous league of Cambrai, of which Pope Julius the Second was the real author, though the Emperor of Germany, and the kings of France and Spain were parties to it, was framed for the avowed purpose of completely subduing her, and partitioning her territories. Dissensions among the confederates more than her own valour saved her from destruction, but not before most of her possessions on the mainland had been wrested from her. A still heavier blow at her prosperity was struck, by the discovery of a new passage to the East, which carried its rich traffic into new channels, and dried up one of the main sources of her wealth and strength. The work of destruction was all but completed by the Turks, who engaged her in an expensive and ruinous warfare, during which she lost the Morea, the islands of Cyprus and Candia, and with them the ascendancy which she had long possessed in the Levant. From all these causes her decline proved as rapid as her rise had been, and though her position can hardly fail to give her a considerable coasting trade, all her maritime greatness has departed, and apparently the highest destiny to which she can now aspire, is that of being a valuable dependency to some superior power.

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DUKE OF VENICE				Mr. H. MELLON.
PRINCE OF MOROCCO	}	(Suitors to Portia)	{	Mr. ROLLESTON.
PRINCE OF ARRAGON	}	(Suitors to Portia)	{	Mr. RAYMOND.
ANTONIO		(the Merchant of Venice)		Mr. GRAHAM.
BASSANIO		(his Friend)		Mr. RYDER.
SALANIO	}	(Friends to Antonio and Bassanio)	{	Mr. BRAZIER.
SALARINO				Mr. G. EVERETT.
GRATIANO				Mr. WALTER LACY.
LORENZO		(in love with Jessica)		Mr. J.F. CATHCART.
SHYLOCK		(a Jew)		Mr. CHARLES KEAN.
TUBAL		(a Jew, his Friend)		Mr. F. COOKE.
LAUNCELOT GOBBO		(a Clown, servant to Shylock)		Mr. HARLEY
OLD GOBBO		(Father to Launcelot)		Mr. MEADOWS.
LEONARDO	}	(Servants to Bassanio)	{	Mr. MORRIS.
STEPHANO	}	(Servants to Bassanio)	{	Mr. STOAKES.
BALTHAZAR		(Servant to Portia)		Mr. DALY.
HERALD				Mr. J. COLLETT.
PORTIA		(a rich Heiress)		Mrs. CHARLES KEAN.
NELISSA		(her Waiting Maid)		Miss CARLOTTA LECLERCQ.
JESSICA		(Daughter to Shylock)		Miss CHAPMAN (Her First Appearance).

The Project Gutenberg eBook of Shakespeare's play of the Merchant of Venice

SHAKESPEARE'S PLAY OF

THE MERCHANT OF VENICE,

ARRANGED FOR REPRESENTATION AT

THE PRINCESS'S THEATRE,

WITH HISTORICAL AND EXPLANATORY NOTES,

BY

CHARLES KEAN, F.S.A.,

AS FIRST PERFORMED ON

SATURDAY, JUNE 12TH, 1858.

ENTERED AT STATIONERS' HALL.

DRAMATIS PERSONAE.

AS FIRST PERFORMED, SATURDAY, JUNE 12, 1858.

PREFACE.

ACT I.

SCENE I.—VENICE.(A) SAINT MARK'S PLACE.(B)

FOOTNOTES:

SCENE II.—BELMONT. A ROOM IN PORTIA'S HOUSE.

FOOTNOTES:

SCENE III.—THE MERCHANT'S EXCHANGE ON THE RIALTO ISLAND.(c) SAN JACOPO, THE MOST ANCIENT CHURCH IN VENICE, OCCUPIES ONE SIDE OF THE SQUARE.

FOOTNOTES:

SCENE IV.—SALOON OF THE CASKETS IN PORTIA'S HOUSE, AT BELMONT.

FOOTNOTES:

HISTORICAL NOTES TO ACT FIRST.

ACT II.

SCENE I.—VENICE.(A) EXTERIOR OF SHYLOCK'S HOUSE.

HISTORICAL NOTES TO ACT SECOND.

FOOTNOTES:

ACT III.

SCENE I.—SALOON OF THE CASKETS IN PORTIA'S HOUSE AT BELMONT.

FOOTNOTES:

SCENE II.—RIALTO BRIDGE (A), AND GRAND CANAL.

FOOTNOTES:

SCENE III.—SALOON OF THE CASKETS, IN PORTIA'S HOUSE, AT BELMONT.

FOOTNOTES:

SCENE IV.—VENICE. THE COLUMNS OF ST. MARK. (c).

FOOTNOTES:

SCENE V.—SALOON OF THE CASKETS IN PORTIA'S HOUSE AT BELMONT.

HISTORICAL NOTES TO ACT THIRD.

FOOTNOTES:

ACT IV.

SCENE I.—VENICE. A COURT OF JUSTICE.(A)

SCENE II.—VENICE. THE FOSCARI GATE OF THE DUCAL PALACE, LEADING TO THE GIANT'S STAIRCASE.

FOOTNOTES:

HISTORICAL NOTES TO ACT FOURTH.

ACT V.

SCENE I.—BELMONT. AVENUE TO PORTIA'S HOUSE.

FOOTNOTES:

THE FULL PROJECT GUTENBERG LICENSE