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(iii)
Act I
4 — 15
Scene 1
4
Scene 2
9
Scene 3
12
Act II
16 — 35
Scene 1
16
Scene 2
18
Scene 3
21
Scene 4
22
Scene 5
24
Scene 6
26
Scene 7
28
Scene 8
30
Scene 9
32
Act III
35 — 49
Scene 1
35
Scene 2
38
Scene 3
45
Scene 4
46
Scene 5
48
Act IV
50 — 59
Scene 1
50
Scene 2
58
Act V
Scene 1
60 — 64
60
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The Merchant of Venice – Handbook
Act I Scene 1
Context Questions
1. (i) Antonio and his friends are in a street in Venice. Antonio says that
his sadness makes him depressed and dull. He further says that he
is yet to learn about the origin and nature of his sadness.
(ii) (a) whereof it is born : how it originated.
(b) a want-wit sadness: a dull sadness.
(c) That I have much ado to know myself: That I have much difficulty
in recognising myself.
(iii) Salarino tells Antonio that he is sad because his mind is preoccupied
with his ships filled with cargo, which are out at sea.
(iv) Salarino compares Antonio‘s ships sailing on the waves with the
great lords and wealthy citizens, who look down on lesser men as
they walk along the street. He says that compared to smaller ships,
Antonio’s ships move swiftly on the sea with their canvas sails and
look like grand spectacles or pageants of the sea.
(v) Antonio is presented as a melancholic and passive character mainly for
three reasons. Firstly, by portraying Antonio as a whimsical person,
who is least bothered about the consequences of his actions, justifies
his signing the bond-agreement. Secondly, Antonio’s melancholy
creates a tragic atmosphere suitable for the play. Thirdly, Antonio’s
melancholy creates a sense of mystery for the audience.
The following are the probable reasons for Antonio’s melancholy:
 He may be melancholic by nature.
 He fears losing Bassanio to Portia.
 He has no wife and children and therefore, suffers from loneliness.
 He has a foreboding of some approaching disaster.
2. (i) If Salanio had business ventures abroad, his thoughts would be
fixed on the dangers to his ventures and methods of securing them.
He would be plucking the blades of grass and casting them in the
air to see which way the wind blew, to see if it was blowing in a
direction favourable to the course of his ships or not. Further, he
would look into maps for harbours, channels and open road-steads
near to the shore where his ships could anchor in case of need.
(ii) Every thought of Salanio would make him fearful of danger to his
business ventures. Two examples which reminded Salarino of the
Act I Scene 1
5
danger to his ships were: (a) While cooling his soup by blowing on
it, reminded him of the stormy winds at sea causing terrible damages
to his ships. (b) The sandy hour-glass reminded him of the richly
laden vessels wrecked on the sandy shore.
(iii) Plucking of grass and casting them in the air to see which way the
wind blew.
(iv) Despite danger to his ships, Antonio is not worried about his financial
security because his business is neither dependent on any one ship
nor on any single location or commercial transactions of the current
year.
(v) The opening scene describes the possible dangers that the sea could
pose to ships such as strong winds, dangerous shallow waters, sand
banks and dangerous rocks. Antonio is very confident about his
business venture as he says that his business enterprises are neither
dependent on a single ship nor on a single business transaction of
a particular year.
3. (i) This scene takes place in a street of Venice. Antonio, Salarino and
Salanio are present in the scene. Salarino is in a talkative mood and
wants to know the reason for Antonio’s melancholy. He says that
he too would be feeling melancholic if his ships were sailing on the
sea.
(ii) It would remind Salarino of the stormy winds at sea and of the
terrible damages they might cause to the ships.
(iii) Wealthy Andrew refers to a Spanish ship called Andrea captured by
the British sailors in 1596. It ran aground when it was being brought
to England. Since then Andrew refers to a big cargo ship. In the
above lines Salarino imagines that his rich cargo ship is grounded
in sand and her mast dipped down lower than her sides as if trying
to kiss the sands that surround her.
(iv) Sandy hour-glass is an apparatus used to indicate time. It would
remind Salarino of the dangers from hidden banks of sand at sea,
on which a ship may run aground.
(v) When Salarino would go to the church he would see the holy building
made of stone. This scene would make him think of the perilous
rocks of the sea and imagine that a collision of his ship with these
rocks would be sufficient to break his vessel into pieces and scatter
on the sea all her spices and silks.
4. (i) Salarino has just said that Antonio was in love. Antonio calls the
remark as nonsense and completely denies that he is in love.
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The Merchant of Venice – Handbook
(ii) Salarino concludes that Antonio is sad because he is not happy. He
remarks that there are some curious creatures in the world. He swears
by Janus, the two-headed Roman God that some people have merry
natures and are continuously laughing whether the things they see
are subject for mirth or not. Again there are others with the sourest
countenance who will not laugh at any thing though the gravest old
warrior Nestor himself confirms the joke as most amusing.
(iii) Janus is a Roman god usually depicted with two heads looking
in opposite directions — one frowning and the other smiling. He
had received from god Saturn, the gift to see both the past and the
future. He is referred to in the extract to show that there are two
types of people — one happy and the other sad.
Nestor was the King of Pylos. He was one of the greatest generals in
the Trojan War. He was famous for his wisdom, justice, knowledge
of war and profound gravity. If he laughed, it meant the joke was
really funny. He is referred to in the extract to describe the sad and
grave people.
(iv) Nature has framed two types of people. The first type of people
have happy nature and often laugh even if the subject of laughter
is too trivial. The second type of people are those with serious and
grave faces, who do not laugh even at the most amusing jokes.
(v) At the end of Salarino‘s speech, Bassanio, Gratiano and Lorenzo come.
Salarino leaves Antonio then because Antonio‘s friends, Bassanio,
Gratiano and Lorenzo have come to give him company.
5. (i) Gratiano gives the example of a warm-blooded young man who
represses his spirits and forces himself to stillness till he looks like
the marble image of his grandfather. He does so to advise Antonio
not to remain in melancholy. He is likely to be infected with jaundice
due to his bad temper.
(ii) (a) Some men overcast their faces with a pale expression as unchanging
as the cream that forms on the surface of milk and as the scum
that forms on the surface of a stagnant pool.
(b) maintain an obstinate silence not to disturb the solemnity of
their faces.
(iii) In the extract, Gratiano speaks about people who try to obtain a
reputation for wisdom, seriousness and deep thought by remaining
silent. Such people mean to say that they speak with the authority
of the Greek Oracle and they alone are infallible in their utterances.
When they speak, others should keep quiet.
(iv) ‘I am Sir Oracle’ means ‘I speak with the authority of the Greek
Act I Scene 1
7
Oracle’. The Greek Oracles made known the will of Gods and were
received by all without questions.
‘Let no dog bark’ means ‘let no one speak’. It refers to the attitude of
those wise men who consider themselves as the fountain of wisdom
and want that when they speak, others should remain silent.
(v) At the end of his speech, Gratiano advises Antonio not to be one
of those who try to gain a reputation for wisdom by being silent.
He further tells Antonio not to use melancholy as a bait to win the
reputation of wisdom and cheap popularity, which is like a worthless
cheap fish, a gudgeon.
Bassanio says that Gratiano indulges in such idle talk much more
than any other man in Venice and his reasons are like two grains
of wheat hidden in two bushes of worthless stuff.
6. (i) Bassanio and Antonio are in a street in Venice. Prior to this extract,
Antonio asks Bassanio to tell him about his plans. He adds, that
if Bassanio’s plan is as honourable as he is, he then promises him
everything that he has— money, influence, personal help and utmost
resources.
(ii) The given lines mean that at any rate Bassanio could pay the second
loan and remain his grateful debtor for the first.
(iii) Bassanio says that when he was a boy at school and he lost one
of his arrows while shooting, he would shoot another arrow in the
same direction. Thus, by risking the second, he often regained both
the arrows.
(iv) Bassanio proposes to pay back his previous loan as well as the
present loan by carefully managing the expenditure of his second
loan amount.
(v) Earlier, Bassanio confesses to Antonio that he has spent his wealth
by having a more lordly way of living than his moderate income
allowed him. Therefore, he has incurred heavy debts because of his
youth and extravagance. This proves that Bassanio is a spendthrift.
7. (i) ‘Fair speechless messages’ mean glances which are silent messages
of love. Bassanio wants to say that sometimes he received from
Portia’s eyes lovely silent messages. The words ‘nothing undervalued’
mean not less precious. Bassanio says that his Portia is no less
precious than Cato’s daughter.
(ii) Cato, the father of Brutus‘ wife Portia, was the great-grandson of
the famous Cato, the Censor. In the Civil War between Pompey and
Caesar he supported Pompey and was defeated by Caesar. Brutus,
husband of Portia, was the chief of the conspirators against Caesar
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and caused his assassination. They are referred to show that Portia
of Belmont is as precious and great as Cato’s daughter, Portia.
(iii) The passage says that Portia’s fame had spread throughout the
world as suitors from every part of the world come to Belmont to
win her hand in marriage.
(iv) Jason was a Greek hero, who was sent by Pelias, his uncle who had
usurped the throne, to fetch the golden fleece from Colchos. In Greek
mythology, golden fleece is referred to as the fleece of the winged
ram Chrysomallos. It was kept at an oak tree in a grove sacred to
god Ares and guarded by a dragon in Colchos. Bassanio compares
Portia to the golden fleece and himself in his quest for Portia, to
Jason on his voyage to fetch the golden fleece. He refers to other
suitors as Jasons.
(v) Bassanio‘s description of Portia in the opening scene reveals that she
is a paragon among women. She is rich and beautiful with golden
hair. She has wonderful mental qualities and is virtuous as well.
Her fame has attracted suitors from all over the world. She is in no
way inferior to her namesake, Cato‘s daughter and Brutus‘ wife.
Bassanio needs money to go to Belmont to win his lady love, Portia.
He asks Antonio for a loan and as Antonio has no ready cash he
tells Bassanio to take a loan on his name.
8. (i) Antonio is unable to help Bassanio at once since he has no money
in hand as all his business ventures are at sea.
(ii) The sum was three thousand ducats. It was required urgently for
Bassanio to go to Belmont and present himself before Portia as a
worthy suitor.
(iii) Antonio instructs Bassanio to find out a merchant who is ready to
give him money against his name.
(iv) The credit shall be stretched to the utmost limit. Antonio says that
he is ready to stretch the credit as far as to equip Bassanio to go to
Belmont to woo Portia.
(v) Antonio is introduced in the scene as a rich merchant having many
shipping ventures at sea. He is in a state of melancholy and not
interested in love. Loyalty and generosity towards Bassanio are the
major traits of his character. Compared to Antonio, Bassanio is shown
as a spendthrift young gallant, who lives a life of luxury beyond his
means. He seems to take undue advantage of Antonio‘s generosity.
Unlike Antonio, he is a romantic man, who wants to marry Portia,
a rich and beautiful heiress from Belmont.
Act I Scene 2
9
Act I Scene 2
Context Questions
1. (i) Portia has just said that she can neither choose the one she likes
nor refuse the one she dislikes because the choice of her husband
depends on the lottery of caskets devised according to her late
father’s will.
(ii) The lottery refers to the choice of the right casket containing Portia’s
portrait from among the three caskets of gold, silver and lead. The
suitor who will make the right choice as per the will of Portia‘s
father will win her in marriage.
(iii) Initially, Portia appears to be anxious over the prospect of choosing
her husband through a lottery devised according to her father’s will.
She feels sad as she can neither choose the one she likes nor refuse
the one she dislike as a her husband. But later on she accepts her
father’s will. She says that she would remain a virgin like Diana
unless she is won in marriage by some suitor fulfilling the conditions
of her father’s will. Nerissa’s reaction to the lottery was positive.
She calls Portia’s father pious and asserts that good men do have
inspirations at the time of death. She consoles Portia by saying that
she will be chosen correctly by a person whom she truly loves.
(iv) These lines mean that Portia will be chosen correctly by a person
whom she truly loves.
(v) Portia’s melancholy is the result of her anxiety over the prospect
of her future husband while the cause of Antonio’s melancholy is
unknown.
2. (i) Portia and Nerissa are in a room in Portia’s house at Belmont. They
are discussing the lottery of caskets and about the suitors who have
already come to try their luck. In this scene, Portia is in a mood of
melancholy and anxiety.
(ii) County Palatine was the Count from Palatinate, the region on the
west bank of the Rhine in Germany. He was a powerful lord who
had come to Belmont to win Portia’s hand.
(iii) The first prince described by Portia is the Neapolitan prince from
Naples, Italy. Portia describes him as a dashing youngster and as
wild as a young horse. He does nothing but talks of his horse.
He further considers his ability to shoe a horse himself as a great
accomplishment.
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(iv) The weeping philosopher refers to Heraclitus of Ephesus. He was a
Greek philosopher who lamented the stupidity and folly of mankind
and wept at everything in the world. Portia refers to him to describe
County Palatine.
It means ‘a skull with a bone in its mouth‘. The emblem of a skull with
two bones crossed underneath was usually known as “death‘s head“.
(v) County Palatine is described as a gloomy and self-conceited person.
He is always frowning as if to say that if Portia will not marry him,
she may choose someone else. He is morose and sullen that even
jovial stories don‘t make him laugh. Portia feels that since he has an
abrupt manner of speech and is usually gloomy in his young age, he
may become a sad philosopher like Heraclitus when he grows old.
3. (i) Earlier Portia described the Neapolitan prince as wild as a young
horse and so attached to his horse that he always spoke about the
horse only. The Count Palatine and Le Bon share the common
characteristic of frowning.
(ii) he is every man in no man : He has every man’s characteristics but no
personality of his own.
(iii) When he hears the singing of a thrush, the French Lord starts
jumping immediately.
(iv) (a) It would be as if she were married to twenty husbands as he is
never one man but twenty men by turns.
(b) If he were to despise Portia, Portia would not be in the least
angry and would forgive him.
(c) Portia could never return his love since she could never possibly
love twenty husbands.
(v) Portia says that the French Lord is more attached to his horse than
the Neapolitan Prince and excels Count Palatine in frowning. If he
hears a thrush singing, he starts jumping immediately. Further, if he
does not have anybody to fence with, he will take his own shadow
as adversary.
4. (i) The baron’s external appearance is described as odd and strange. He
is oddly dressed and very odd in behaviour too. He wears an Italian
jacket and breeches in the French fashion. He seems to have got his
hat from Germany and his manners from everywhere. Englishmen
of Shakespeare’s days had fondness for the manners and clothes of
foreigners.
(ii) Portia’s statement that the Englishman did not know Latin, French
or Italian shows that he had very poor knowledge of European
Languages. Portia found it difficult to converse with him as he did
not know Latin, French or Italian and Portia’s knowledge of English
was very poor.
Act I Scene 2
11
(iii) (a) He is a proper man’s picture: He is handsome and fine-looking.
(b) How oddly he is suited!: He is dressed very strangely.
(iv) The word dumb-show refers to a play in which all characters act
without speaking, that is by gestures. A pantomime is a dumb-show.
The baron is described as a ‘dumb-show’ because he is unable to
speak foreign languages and had to converse by means of signs as
in a dumb-show.
(v) The Scottish Lord is not impressive. Portia speaks about his cowardice
in a sarcastic way by calling him kind-hearted as he did not return
the Englishman’s blow immediately. The description of the Sottish
Lord is a reference to the frequent alliances between the Scots and
the French against England when Scotland was at war with England.
5. (i) When sober, the young German is less than a man in behaviour
and when drunk he is no better than a beast. If the worse happens
to Portia, she will manage to do without him.
(ii) (a) When he is drunk, he is no better than a beast.
(b) Place a tall goblet of Rhenish wine on the wrong casket.
(iii) To prevent the young German from choosing the right casket, Portia
instructed Nerissa to place a tall goblet of Rhenish wine on the wrong
casket. Portia was sure that the German suitor will not be able to
resist the temptation of his national drink even if the picture of the
devil himself was within.
(iv) A sponge constantly absorbs water. Similarly, a drunkard, who
constantly takes liquor is called a ‘sponge’. Since the young German
is a drunkard, Portia calls him a ‘sponge’.
(v) Nerissa tells Portia to set aside her fears concerning the suitors.
She says that they have informed her of their decision to go back
home and not to press their courtship further unless Portia’s father’s
decree concerning the caskets can be set aside and they may woo
her in an ordinary way. Nerissa’s concern for Portia comes forth in
her speech as she tries to sooth Portia’s troubled mind due to her
unworthy suitors.
6. (i) Portia’s father’s will was that her marriage will be decided by the
lottery of the three caskets. The suitor, who chooses the right casket
containing Portia’s picture will be her husband.
(ii) In Ovid’s metamorphoses, Sibylla was a prophetess. She was granted
a wish by goddess Apollo that she would live for as many years
as the grains of sand she held in her hand. She was the ageless old
woman. Diana was the goddess of moon and hunting. She is known
as the virgin goddess.
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They are referred to here to explain Portia’s resolve to remain a virgin
like Diana even if she lives to be as old as Sibyl of Cumae unless
she is won in marriage by some suitor in the lottery of caskets.
(iii) To introduce Bassanio, Nerissa recalls the visit of a young
Venetian along with the Marquis of Montferrat, when Portia’s father
was alive. He was a scholar and a soldier. In this scene, Portia’s
feelings for Bassanio are quite positive. She recalls his name and tells
Nerissa that he fully deserves her praise. Her simple reply shows
that she is already in love with Bassanio.
(iv) The opening of the first two scenes of Act I gives the plots of the
play. The two main plots of the play are the bond-story and the
casket-story. The bond-story is initiated in Scene 1 while the casketstory is initiated in Scene 2 of Act I.
(v) The six suitors given in this scene are:
(a) The Neapolitan Prince from Naples, Italy, was a dashing youngster,
as wild as a horse. He always talked about his horse.
(b) The County Palatine was always frowning and unusually gloomy.
(c) Monsieur Le Bon from France, had the characteristic of every
man and had no personality of his own.
(d) Mr. Falconbridge from England, though handsome was strangely
and unmannerly dressed and did not know Latin, French or
Italian.
(e) The Scottish Lord, was a coward and did not repay the Englishman
who gave him a blow.
(f) The Duke of Saxony was a drunkard. He in his sober moments,
behaved less than a man and when drunk no better than a beast.
Act I Scene 3
Context Questions
1. (i) Antonio is bound to a bond according to which if he fails to repay
the amount in due time, Shylock will be entitled to take an exact
pound of flesh from any part of Antonio’s body that he may wish.
It was very unwise of Antonio to misjudge Shylock’s intentions and
sign such a fatal bond.
(ii) Can you help me and will you do me this favour?
(iii) When Shylock says that Antonio is a good man, he means that
Antonio is a reliable man, whose surety is sufficient to give a loan.
Act I Scene 3
13
(iv) Shylock enumerates the possible dangers to Antonio’s merchandise —
ships being only planks of wood are apt to be broken; the mariners
being merely human beings, are liable to be drowned; there are
pirates on the waters; and there are all the dangers of the ocean
from the gales, tempests and dangerous rocks.
(v) Antonio can be considered as a prudent businessman as his wealth
is distributed over the whole world. One of Antonio’s ship is on
its journey to Tripolis, another is bound for the Indies, a third is
voyaging to Mexico, fourth to England and others to various other
distant places. He is so overconfident of his riches that he agrees to
an unreasonable and dangerous bond.
2. (i) Publicans were tax collectors for the Romans and were generally
oppressive. They were hated by the Jews because they were agents of
Rome, who collected taxes also from the Jews. Publican is a natural
term of contempt and loathing in the mouth of a Jew. Shylock hates
Antonio because he is a Christian, lends money without interest and
hurls abuses on him.
(ii) The words mean that if Shylock could get hold of Antonio at a
disadvantage or in a weak spot, he will satisfy fully the long-standing
hatred he has against him.
(iii) Shylock had a long-standing grudge against Antonio because
Antonio was a Christian and looked upon the holy Jewish race with
contempt. He used to lend money without interest and thus, bring
down the rate of interest. He even spat on Shylock, kicked him and
called him a ‘cut-throat dog’.
(iv) ‘The Sacred Nation’ is a reference to the holy Jewish race.
Antonio insults Shylock for his business deals and for earning profit
by lending money on interest.
(v) Shylock plans to get money immediately from a wealthy fellow-Jew
Tubal. It shows that Shylock wants to execute the bond as soon as
possible and use the chance to take his revenge on Antonio.
3. (i) The topic referred to in the extract is lending money for interest.
Jacob was the second son of Issac who became the third successor
to Abraham. Abraham was the founder of the Hebrew nation and
Jacobs’ grandfather.
(ii) Laban was Jacob’s uncle. Jacob and Laban entered into an agreement
that Jacob would receive as his wages the lambs which were born
with spots or stripes. During the breeding season, Jacob arranged the
wodden rods in such a way that the shadows of the rods should fall
on the sheep. Consequently, most of the lambs were born spotted
or stripped, and thus, they became Jacob’s property.
(iii) Taking interest means to charge specific amounts on the money
given as loan for a specified period. Receiving payment for one’s
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The Merchant of Venice – Handbook
labour means to take remuneration for one’s service rendered. This
is legitimate while taking interest is not.
(iv) After this extract, Antonio tells Shylock that it was purely a matter
of chance in Jacob’s case. He had no control over it himself, but
providence guided and governed the event. It was not a matter in
the hands of men, like the taking of interest.
(v) “The third possessor” means the third in the line of heirs to family
estates. The first one was Abraham and the second was Issac. Esau
and Jacob were Issac’s sons. Issac wanted to bless his elder son
Esau but would do so after he brought him some savoury meat.
Jacob’s mother Rebecca overheard this conversation. She wanted
to get this blessing for Jacob. She told Jacob to fetch two goats to
make a savoury dish. Rebecca then asked Jacob to go to his blind
father with the savoury meat. In this way, Jacob, through the crafty
assistance of his mother, got the blessing of his father.
4. (i) It means “are you going to oblige us.” Rialto was the Venetian Stock
Exchange where the merchants met for the transaction of business.
(ii) Shylock speaks of his ill-treatment at the hands of Antonio. He says
that Antonio had spat upon his Jewish robe in contempt and called
him an unbeliever and a cur. He had also spat upon his beard. On
another day he had pushed him aside with his foot as if he were a
stray dog being kicked out of his house. Shylock reacted to Antonio’s
insults patiently.
(iii) Shylock bore Antonio’s insults patiently since, as a shrewd Jew,
he was waiting for an opportune time to take revenge on Antonio.
Earlier, in the scene Shylock admits that patience is the badge of
his race.
(iv) Financially Antonio is a threat to Shylock’s money-lending business
because he lends money without charging interest and thus brings
down the rate of interest charged by money-lenders. Besides, he
hates Antonio since he is a Christian, who despises the Jewish race.
(v) Antonio is a rich businessman but does not have ready cash in his
hand. That is why he needs to borrow money from his enemy Shylock
to give it to Bassanio, his friend so that he can go to Belmont to woo
his lady love, Portia. Shylock is ready to lend money to Antonio
because that would enable him to take revenge on Antonio for all
the insults heaped on him by Antonio.
5. (i) Shylock is referring to the insults hurled on him by Antonio such
as speaking abusively of him and his money-lending, spitting on
him, kicking him, calling him a dog and ridiculing the Jews.
(ii) ‘The present wants’ refer to the immediate need of Antonio — three
thousand ducats to provide for Bassanio’s trip to Belmont to woo
Act I Scene 3
15
Portia. Shylock is ready to supply the wants provided Antonio
signs a bond, according to which if Antonio is unable to pay him
the money on the specified date, the penalty to be paid will be an
exact pound of flesh from any part of Antonio’s body.
(iii) Antonio storms Shylock by saying that in future too he is likely to
abuse and disgrace him and that he should lend the money as to an
enemy rather than a friend. He challenges him to exact the penalty
if he fails to repay on time. Shylock is willing to lend the money
without interest because he wants to trap Antonio in a fatal bond
and take his revenge.
(iv) ‘This is kind I offer you’ means this is the kindness that I offer you.
This refers to his lending of money without charging any interest
on it. Immediately after this, the speaker proposes to Antonio to
accompany him to a lawyer and execute a bond with his signature
wherein the forfeit to be paid will be an exact pound of flesh from
any part of Antonio’s body.
(v) The third person present at the scene is Bassanio. He is reluctant to
agree to Shylock’s terms because he did not trust the kind words
uttered by Shylock. He tells Antonio that he will not have him make
such an agreement on his account. He would rather remain as poor
as he is now and do without his wants supplied at such a price.
6. (i) A notary is a lawyer who has the authority to execute official and
legal dealings and agreements. Shylock wants to take Antonio to the
notary to sign the bond document which stipulates that the forfeit to
be paid will be a pound of flesh from any part of Antonio’s body.
(ii) (a) single bond: agreement in which Antonio will be the only signatory.
(b) merry sport: for a pleasant joke.
(iii) Bassanio tells Antonio that he will not have him make such an agreement
on his account. He adds that he would rather remain as poor as he
is now and do without his wants supplied at such a price.
(iv) Antonio is confident that there is no danger in signing the bond
because he is confident that one month before the date of payment,
his ships will have brought nine times the amount they are borrowing
and they will not have to pay the penalty. This incident shows
Antonio’s overconfidence and generosity towards Bassanio.
(v) Shylock insists on a pound of Antonio’s flesh to take revenge on
him and to put him completely at his mercy. Shylock’s hatred for
Antonio and Christians is shown in his absurd demand. Taking
advantage of the situation, he wants to take revenge on Antonio and
all Christians, who persecuted him and his race. Shylock appears to
be a man fired with hate and vengeance, who is ready to go to the
extent of getting his enemy’s pound of flesh to take his revenge.
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Act II Scene 1
Context Questions
1. (i) This scene takes place in a room in Portia’s house at Belmont. People
present are: Prince of Morocco and his attendants, Portia, Nerissa
and her attendants. Morocco says that he got his dark colour because
of the fierce sun. He was born and brought up in a country where
the sun is very close to the earth.
(ii) People born in north are fair-skinned. This is because the sun’s rays
are so faint in the north that they are hardly able to melt the frost,
snow and icicles.
(iii) Phoebus in Greek mythology is one of the names of the Sun God,
Apollo. “Phoebus’ fire” means the rays of the sun. Morocco proposes
that he should be matched with any fair-skinned man born in the
north. They should open their veins to see whose blood is redder.
Red blood was considered to be a sign of courage.
(iv) Morocco’s physical appearance frightened the brave men whereas
the prettiest women admired and loved it.
(v) The speaker is prepared to change his dark complexion only to win
over Portia’s favour.
From the extract we know that the Prince of Morocco is a warrior
and self-assured man. He has a large imposing physical appearance
and is proud of his dark complexion. He is an egoist who thinks
that he is better than other people. He boasts of his red blood and
the admiration and affection he enjoys in his land from the nobles
and best of maidens.
2. (i) Lottery of Portia’s destiny refers to the lottery devised according
to her deceased father’s will. According to the lottery, each suitor
has to choose from amongst the three caskets of gold, silver and
lead the one containing Portia’s portrait. The suitor who will make
the correct choice will win Portia’s hand in marriage. The lottery of
caskets designed by her father, thus prevents Portia from exercising
her freedom of choice. The suitor, who will make the right choice
will win her as wife.
(ii) These lines mean: “If I had not been limited and restricted by my
father’s wisdom and obliged to accept for a husband the one who
will succeed in winning me by the means I have told you.”
(iii) Portia’s father was prudent to have arranged her marriage through
Act II Scene 1
17
a lottery. We see that at the end the wisdom of her father prevails
and she is won as wife by Bassanio whom she loves and admires.
(iv) From the extract we know that the Prince of Morocco is a warrior
and self-assured man. He has a large imposing physical appearance
and is proud of his dark complexion. He is an egoist who thinks
that he is better than other people. He boasts of his red blood and
the admiration and affection he enjoys in his land from the nobles
and best of maidens. He admits that the lottery of the caskets has
no consideration for heroism and can be won by anyone, even an
undeserving candidate. He harps on the idea of chance – choice,
lottery, destiny, chosing, fortune and hazards.
(v) Portia does not really mean that Morocco had a good chance
of winning her love, because in Act I, Scene 2 she holds her former
suitors in contempt. She thinks the same of Morocco because he is
boastful. Portia treats him with perfect courtesy and tact and speaks
as if she holds him in high esteem.
3. (i) ‘Scimitar’ means sword. By using his sword, Morocco had slain the
Emperor of Persia and a Persian Prince, who had defeated Sultan
Solyman of Turkey thrice.
(ii) The brave deeds Morocco is prepared to perform in order to win
Portia are:
(a) to challenge the most brave warrior on earth.
(b) snatch away the young sucking cubs from the mother bear and
dare her wrath.
(iii) In Greek mythology, Hercules was renowned for his manliness,
strength and exploits. Lichas was his servant. According to the legend,
once Hercules and Lichas were playing a game of dice. By chance,
the winning throw came from Lichas. This example is applicable to
Morocco since his fame, wealth and achievements are of no help
to him to win Portia. He is forced to take his chance against any
inferior rival.
(iv) Before he is led to make the choice, Portia tells Morocco that he
must take a chance. He must either leave the matter altogether and
not make the attempt or swear in the Chapel before choosing, that if
he makes the wrong choice, he will never again speak to any lady
on the subject of marriage.
(v) The goddess fortune is usually represented blindfolded. Fortune is said
to be blind due to the unaccountable variations in her dispensation
of favours to mankind. He fears that as the blind fortune is leading
him to choose the right casket, the outcome depends only on chance
as in a game of dice.
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Act II Scene 2
Context Questions
1. (i) Launcelot Gobbo is Shylock’s servant. An inner struggle is going on
in his mind between his conscience advising him to be a faithful
servant and the devil tempting him to leave Shylock’s service and
take up service with Bassanio. Launcelot’s inner struggle shows the
contemporary Christian practice of struggling with the temptation
to yield to it or not.
(ii) Launcelot wants to run away from the Jew because his master,
Shylock is the very devil in human form. According to Launcelot,
Shylock is a miserly man under whose service he remains famished.
Besides, he fears that he would become a Jew if he served Shylock
any longer. Initially, his conscience tells him not to run away from
Shylock’s household and to be careful. However, when the devil
persuades him to flee, his conscience tells him that as he is the child
of a good father or at least a good mother and so, he should stay
where he is and not move.
(iii) In this scene Launcelot provides some comic relief in the play. In the
context of the play such a relief was needed because the previous
scene that related to the bond story, depicted a serious mood where
Antonio agrees to sign a treacherous bond that stipulates a pound
of his flesh in case he forfeits the agreement.
(iv) Launcelot’s conscience advises him not to run away as such an act
of fleeing is a matter of contempt. It adds that he is the child of a
good father or at least a good mother and hence he should stay on
with the master.
(v) Finally, Launcelot obeys the devil. The theme of racial discrimination
is brought out in Launcelot’s decision to run away because he runs
away from his master, Shylock, who was a Jew and takes up service
with Bassanio, a Christian.
2. (i) Launcelot and Old Gobbo are in a street in Venice. ‘True-begotten
father’ means ‘my father who begot me’. Old Gobbo cannot recognise
his son as he is more than half-blind.
(ii) Old Gobbo is looking for the way to the Jew’s house to go there
to find out if his son Launcelot, who was working as a servant in
Shylock’s household is still there. Launcelot confuses Gobbo by
giving him wrong directions to Shylock’s house.
(iii) Gobbo says that by the saints, it was a difficult direction to follow.
Act II Scene 2
19
(iv) Gobbo has brought a dish of cooked doves to give to the Jew.
Launcelot tells his father to give Shylock a rope to hang himself
with rather than any present because he has half-starved him.
(v) When Gobbo asks Launcelot the way to Shylock’s house, the wrong
directions which Launcelot gives him provide real comedy in the
scene. The directions are too confusing for Old Gobbo to follow.
The second example is Launcelot’s asking his fathers’ blessing. He
kneels before his father. Being blind, his father touches Launcelot’s
face and says that Launcelot has more hair on his face than Dobbin,
his cart-horse.
3. (i) Launcelot uses high-sounding words in his conversation with Gobbo
to impress him that he possesses classical learning and is a gentleman.
Shakespeare wants to convey to the audience the habit of some vain
people of his time who pretended to be what they were not.
(ii) Launcelot calls Old Gobbo ‘father’ in the first line of the extract as
he plans to reveal his identity gradually to him. In the given lines
Launcelot tells Gobbo that according to his Fate or Destiny or the
Three Sisters of the ancient Greeks and such other branches of
learning the young man is dead.
(iii) Old Gobbo is stunned on hearing that his son is dead. He states
that his son was his only support in his old age.
(iv) When Gobbo asks Launcelot to tell him whether his son is really
dead or not, Launcelot dramatically confesses that he is Gobbo’s
son. But Gobbo does not believe him. Then Launcelot mentions the
name of his mother, Margery, as a proof to show that he is really
Gobbo’s son.
(v) Gobbo is fond of his son. When Launcelot tells him that his son
is dead, Gobbo is shocked to hear it and laments that his son was
his only support in his old age. Further Gobbo does not believe
Launcelots’ confession till he mentions the name of his mother.
When Launcelot tells him that he is his son, Gobbo, being blind,
feels Launcelot’s face to ascertain that he is actually his son.
One humorous situation is when Launcelot gives Gobbo directions
to go to Shylock’s house. The directions are so confusing that
Gobbo does not follow it. Another humorous situation is the scene
of Launcelot asking his fathers‘ blessing. He kneels in front of his
father. His father feels his beard and says that Launcelot has more
hair on his face than their cart-horse has on his tail.
4. (i) When Gobbo remarked that Launcelot has more hair on his face
than Dobbin, their shaft-horse has on his tail, Launcelot responded
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that Dobbin’s tail is growing less because when he last saw him,
he had more hair on his tail than he had on his ace. At this Gobbo
remarked that Launcelot has changed. Gobbo has brought a dish of
cooked doves to be given to Shylock.
(ii) (a) My master’s a very Jew: My master is a typical jew, i.e., he is a
miserly man.
(b) give him a halter: give him a rope to hang himself with.
(iii) In the extract Launcelot tells his father that under Shylock’s service
he has grown so thin for want of proper food that his ribs and bones
are standing out prominently and can be counted with the finger.
This shows that Launcelot has been suffering in the Jew’s service.
(iv) The miserly nature of the Jews is shown in this scene. Launcelot
says that he is half famished under Shylock’s service and adds that
he has grown so thin for want of food that his bones and ribs are
standing out prominently and can be counted with a finger.
(v) If Launcelot serves Bassanio, he will have the privilege of having
new uniforms. According to Launcelot if he works any longer for the
Jew, he may become a Jew himself. He means that it is impossible
for him to remain in Shylock’s service any further.
5. (i) When Old Gobbo delays in asking Bassanio to accept his son,
Launcelot in his service, Launcelot cuts him short and tells Bassanio
that he wants to serve him.
(ii) The palm-reading by Launcelot provides the audience a comic relief
and foretells the good fortune that may come in the life of Launcelot.
(iii) After reading his palm, Launcelot foretells that he will have a long
life. He will marry a large number of wives (eleven widows and
nine maids in all). He will escape thrice from drowning and will
have a hair-breadth escape once from falling out from a feather bed.
(iv) After employing Launcelot, Bassanio tells the Gobbos to go to Shylock
and bid him farewell and then reach his house. He tells his servants
to get a uniform for Launcelot with more decorations or ornamental
stripes than those of his other servants.
(v) The old proverb that Launcelot mentions is : ‘The grace of God is
wealth enough’. He says that this proverb is equally applicable to
Shylock and Bassanio. Bassanio is a good man and has the grace of
God. Shylock does not have grace of God. But he has ‘wealth enough’.
6. (i) Bassanio speaks these words to Gratiano when the latter makes a
request to him to permit him to accompany him on his trip to Belmont.
(ii) To tone down your lively spirits by exercising a little moderation.
Act II Scene 3
21
(iii) Bassanio tells Gratiano that he is uncontrollable, blunt and rough.
These faults of his are acceptable to Bassanio and his friends as
qualities of his nature. But his wild behaviour may be misunderstood
at Belmont. Hence, Bassanio advices him to control his wild behaviour
and tone down his lively spirits by exercising moderation.
(iv) Bassanio asks Gratiano to behave properly in Belmont because he
fears that people who don’t know Gratiano, would misunderstand
his wild behaviour as faulty. And because of this Bassanio may lose
all chances of marrying Portia.
(v) Gratiano promises that he would behave properly in Belmont. He
says that he will converse gravely and will seldom use an oath. He
will carry prayer books in his pockets and look most sedate. During
the grace before meals, he will veil his eyes with his hat and solemnly
say ‘Amen’. He will do everything that politeness demands and
follow all the customs of good manners, as though he is trying to
please his grandmother by showing a quiet and serious behaviour.
Bassanio tells Gratiano that his rude behaviour will be tolerated for
the night because of the party. This is because Bassanio wants that
night to be one of fun and mirth. He will be sorry to see Gratiano
in a sad mood. Bassanio would prefer to see him in his wildest
spirits and be in his most amusing mood.
Act II Scene 3
Context Questions
1. (i) Launcelot left Jessica’s house since her father Shylock was a miserly
Jew and his stay as his servant had half-famished him. He felt that
any further stay with him would make him like the Jew. Besides,
Bassanio had accepted him in his service and Launcelot felt that
Bassanio was a better master.
(ii) In the given lines, Jessica says that her house is a hell because of her
father’s avarice. Launcelot with his jolly nature and with his antics and
nonsensical capering has relieved it of much boredom and dullness.
(iii) Jessica shows in words and actions that she liked Launcelots’
presence in the house. He calls him a merry devil and thanks him
for reducing the boredom and dullness in her house. She offers him
a ducat too.
(iv) Jessica gives Launcelot the errand of delivering a letter to Lorenzo
at supper in Bassanio’s house that night. She advises him to deliver
the letter to Lorenzo secretly.
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(v) Jessica shows herself as a scheming lady when she plans to elope
with a Christian boy, Lorenzo without the knowledge of her father.
She proves herself to be prudent when she instructs Launcelot
to deliver her letter to Lorenzo at Bassanio’s party secretly. Her
character is entirely different from that of Portia. While Portia obeys
her deceased father’s will to marry the one who wins the lottery of
caskets, Jessica betrays her father and religion to marry Lorenzo.
2. (i) Launcelot bids farewell to Jessica by calling her ‘most beautiful
pagan’ and later ‘most sweet Jew’. He says that tears prevent his
tongue from uttering his feelings. We feel happy for Launcelot and
Jessica. Launcelot is leaving his miserly master and is undertaking
Bassanio’s service where he will be happier. Jessica too will soon
escape from the ‘hell’ and marry Lorenzo. We feel sorry for Shylock
as he is still obstinate, miserly and with evil intentions. Further, he
shall lose his daughter as well as money.
(ii) Jessica regrets being the daughter of Shylock due to his behaviour,
his being a bad father to her and for making her home ‘hell.’
Jessica describes her feelings of being ashamed at being her father’s
daughter as a ‘heinous sin’. It is not really a sin because even if
she is Shylock’s daughter by birth, she does not actually detest her
father but detests his miserliness and tyrannical nature.
(iii) The given lines mean that although I am his daughter by birth, I
don’t have his habits.
(iv) Jessica is a lively young girl who rebels against the oppression of her
father and the joylessness of her life at home. She calls her home,
‘hell’. She detests her father’s miserliness and tyrannical nature. She
affirms that though she is Shylock’s daughter by birth, she does not
share his disposition. She is ready to leave her father and elope with
Lorenzo, a Christian.
(v) Lorenzo has to keep the promise of eloping with Jessica that night.
Jessica will end the strife between her desire to marry Lorenzo
and her duty to her father, Shylock by eloping with Lorenzo and
marrying him.
Act II Scene 4
Context Questions
1. (i) Lorenzo and his friends plan to disguise themselves at dinner time
because they were organising a masquerade for Bassanio’s dinner
party and that would give them an opportunity to wear masks,
Act II Scene 4
23
disguise themselves and elope. They were not fully prepared for
the disguise because they had not arranged for young boys to act
as torch-bearers.
(ii) Jessica, disguised as a boy, is supposed to be the torch-bearer. The
actual purpose of having a torch-bearer in the scene is to facilitate
the elopement of Jessica with Lorenzo.
(iii) Bassanio is giving the dinner party. Launcelot invites Shylock for
the dinner party.
(iv) The dinner party facilitates the elopement of Jessica with Lorenzo.
Jessica is free to leave her house as her father is away at Bassanio’s
dinner party. Lorenzo and his friends organise a masquerade for
Bassanio’s dinner party. Jessica joins them as a torch-bearer dressed
as a boy and elopes with Lorenzo.
(v) Launcelot brings the letter of Jessica. It is an important confidential
letter as it contained Jessica’s plan to elope with Lorenzo. On
receiving the letter Lorenzo guesses whose letter it is after looking
at the handwriting. He declares that the handwriting is familiar to
him and the letter is written by a lovely, fair and beautiful hand.
2. (i) Jessica informs Lorenzo about the arrangements she had made to
elope with him. She will leave her fathers’ house with money and
jewellery, disguised in the uniform of a page-boy.
(ii) According to Lorenzo, the Jew, Shylock could go to heaven only
because of his sweet and gentle daughter. We can conclude that
Lorenzo has a high opinion of Jessica since he feels that if at all
Shylock ever goes to heaven it will be because of her. He prays that
no misfortune ever comes to her for being Shylock’s daughter.
(iii) Lorenzo wishes that no misfortune ever happens to Jessica, for being
the daughter of a non-believing Jew. She has no stain of sin in her
unless her birth is regarded as a sin.
(iv) Reference to Shylock as a ‘faithless Jew’ is an example of racial
discrimination hinted at in the extract. Christians believed that
faithless Jews won’t go to heaven.
(v) An atmosphere of activity and pre-occupation prevails in this scene.
Activities include preparations for the masquerade and Jessica’s
elopement. Pre-occupation regarding the dinner party dominates
the scene. Even Shylock is invited for the party. Launcelot acts as a
messenger in this scene. He delivers Jessica’s letter to Lorenzo and
Lorenzo’s reply to Jessica. He invites Shylock for Bassanio’s party
on Bassanio’s behalf.
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Act II Scene 5
Context Questions
1. (i) Shylock accepts the invitation to dinner out of hatred and to eat the
food of the extravagant Christian, Bassanio. In Act I, Scene 3 when
Bassanio invites him for dinner he refuses to dine with Christians
since they were pork-eaters. He asserted then that he would never
eat, drink or pray with Christians although he is ready to do business
with them.
(ii) Shylock is unhappy to accept the invitation this time too as he
feels a premonition of some misfortune about to take place. The
previous night he had a dream about money-bags which was
considered as a bad omen.
Bassanio is referred to as the prodigal Christian because he is wasteful,
who spends money extravagantly which he has borrowed from
Shylock. Prodigal is a reference to the prodigal son described in the
Bible who wasted his share of wealth by lavish and careless living.
(iii) (a) I am not bid for love: I am not invited out of love.
(b) I am right loath to go: I hate to accept the invitation to dinner.
(iv) Jessica and Lorenzo taking advantage of Shylock’s absence from home
makes a plan to elope. Jessica uses the occasion to leave her home
with her father’s money and jewellery. Lorenzo uses the occasion
to organise masquerade in which Jessica would be the torch-bearer
and thus facilitate her elopement with him.
(v) Shylock had a dream about money bags on the previous night. To
dream about money and all kinds of coins was considered as a
bad omen. This made Shylock think that there was some evil being
plotted against him.
2. (i) Shylock is the speaker of the above lines. He is giving this advice to
his daughter, Jessica. When Launcelot tells him about the masquerade,
he is alarmed for fear that such revelry may become unruly. He hates
their frivolity. Hence, he asks Jessica to lock the doors of the house
so that no sound of foolish display may enter his serious house.
(ii) The speaker is going for Bassanio’s dinner party. He is going out
for dinner out of hatred for the Christians and to eat the food of
the extravagant, Bassanio. Jacob was the grandson of Abraham, the
founder of the Jewish race. According to Bible, Jacob, the ancestor of
Shylock had a staff that proved a blessing to him. In Genesis 32:12,
Act II Scene 5
25
Jacob boasts that he had crossed river Jordan only with a staff yet
returned with companies of men.
(iii) (a) Do not climb up to see from the windows;
(b) shrill notes of the fife.
(iv) Christian fools with varnished faces refer to the Christians taking part
in the masquerade at Bassanio’s dinner party. They were planning to
help the speaker’s daughter Jessica, to elope with a Christian, Lorenzo
with the speaker’s money and jewellery. The speaker had warning of
this in the form of a ‘dream where he saw money bags and coins’.
(v) The speaker advices his daughter, Jessica to lock up the doors. He
tells her not to go upto the windows when she hears the drums and
the shrill notes of the fife. He tells her not to stretch her neck out to
gaze over the public street to look at Christian fools with painted
faces. He instructs her to close all the windows of his house so that
no sound of the foolish display enters his sober house.
The advice was given to Jessica by her father, Shylock. She did
not follow the advice and used the occasion of masquerade to elope
with Lorenzo.
3. (i) The word ‘patch’ in the extract means the clown or the fool or the
jester. In olden days, the professional fools or jesters used to wear
multicoloured patched costume. So the word patch is used in the
extract for Launcelot. Shylock says that he is sending Launcelot to
Bassanio as he would assist Bassanio in his spendthrift habits and
waste the money borrowed by Bassanio from him (Shylock).
(ii) Shylock wishes Bassanio to be ruined because he wants to take
revenge upon Antonio and can do so if Bassanio and Antonio fail
to repay the loan on a stipulated date.
(iii) By the given words, Shylock means that lazy people cannot live with
him. Shylock says that Launcelot is lazy and cannot be his servant,
so he allows him to join Bassanio’s service.
(iv) ‘Borrowed purse’ refers to the three thousand ducats borrowed by
Bassanio from Shylock on the basis of the bond signed by Antonio.
The money was borrowed to enable Bassanio to go to Belmont and
win Portia in marriage after participating in the lottery of caskets.
(v) (a) Shylock asks Jessica to shut the doors to make his house safe
from revellers taking part in the masquerade. He quotes an old
proverb ‘fast bind, fast find’ which means that if you lock a
thing up, you will find it safe. (Leave secure and you will find
all secure.)
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(b) In this scene, Shylock becomes an instrument of fate to further
the action in the plot. On the one hand, his desire for revenge
upon Antonio is revealed because he goes to the supper to
help to consume Bassanio’s borrowed money. He overlooks his
religious principles which forbade him dining with Christians.
He even ignores the premonitions of impending evil because of
his revengeful nature. This provided Jessica an occasion to flee
from home with money and jewellery and to elope with Lorenzo,
a Christian. Thus, fate has used Shylock to further its plans.
Act II Scene 6
Context Questions
1. (i) This scene takes place in the street outside Shylock’s house. Lorenzo
has out-dwelt his hour to meet Gratiano and Salarino for the masque.
Lovers generally rush to the meeting place long before the appointed
hour.
(ii) In Greek mythology, Venus is the goddess of love. Salarino comments
that the doves that draw the chariot of Venus, the goddess of love,
fly ten times faster when they are journeying to bind new love more
firmly, than they do when love is already pledged and certain.
(iii) According to Gratiano, people in love are anxious to meet each other.
They rush to their meeting places much before the appointed time.
Thus, people in love keep punctuality in their meetings and never
delay.
(iv) (a) he overstays the time fixed by him to meet.
(b) To bind new love more firmly.
(v) At the end the masque is cancelled because Bassanio decides to leave
for Belmont earlier than the scheduled time.
2. (i) Lorenzo is in the street outside Shylock’s house. His sweet friends
are Salarino and Gratiano.
(ii) His friends said that lovers generally rush to meet each other before
the appointed time. Salarino commented that the doves that draw
the chariot of Goddess of love, fly ten times faster, when they are
journeying to find new love than they do when love is once pledged
and certain.
Act II Scene 6
27
(iii) The speaker was kept away so long due to his business affairs. Also
he had to plan for the masquerade, in which he would elope with
his lady-love, Jessica.
(iv) ‘To play the thieves for wives’ means if ever any of them wishes
to do what he is doing that night and steal away a fair lady to be
his wife, he will wait as long as they have done to help him on the
occasion. These remarks are quite relevant because Lorenzo wants
to give the reason for his delay as well as thank his friends, whom
he has kept waiting for a long time.
(v) Later in the scene, Lorenzo tells Jessica to come down in the street
quickly and that she has to play the part of his torch-bearer in
the masque that night. Jessica is shocked and embarrassed at the
suggestion. She asks Lorenzo whether she must hold a light to show
up her shameful acts — her elopement, theft and male dress.
3. (i) The casket must have valuables like jewellery which Jessica has
stolen from her house. We can conclude that the contents in the
casket are valuables since Jessica hands over the casket only after
making sure that the person to whom she is giving the casket is her
love, Lorenzo. Besides, she tells Lorenzo that it is worth carrying
the casket.
(ii) The given words mean that Jessica is much ashamed that she has
to wear the dress of a page-boy. This exchange was needed for her
to elope with Lorenzo.
(iii) Love is blind in the context since it makes Jessica dress like a
page-boy, steal jewellery and money from her house and be ready to
elope with Lorenzo, a Christian. Cupid is the classical god of love,
who is always represented as a blind boy with bow and arrows.
Jessica says that Cupid, the little blind god of love himself would
be shocked and blush if he saw her dressed like a boy.
(iv) Jessica’s feminine nature is highlighted in the extract. Her shyness
at her male clothes shows her feminine modesty as in Elizabethan
times women never wore men’s clothes. Also she comes down from
her house after making sure that the person, who has come to take
her is Lorenzo, her lover.
(v) Masquerades were dramatic performances where the players wore
masks and costumes and took part in a torchlight procession playing
drums and fife. Jessica was to carry the torchlight or candle. If she
carries the candle, she will show up her shameful acts — her male
attire, the casket containing her theft and the fact of her elopement.
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Act II Scene 7
Context Questions
1. (i) Portia asks one of her attendants to pull apart the curtains so that
the different caskets are made visible. The Prince of Morocco is
asked to make the choice.
(ii) After reading the inscription on the three caskets, Morocco asks
Portia how he will know if he has chosen the correct casket. Portia
replies that the casket which would contain her portrait will be the
right casket. If he selects that one, then she will be his wife.
(iii) The prince of Morocco finally chooses the golden casket. Morocco
argues that base lead cannot contain such a saintly person like Portia.
Silver which is ten times inferior to gold also cannot hold Portia as
she is such a rich gem. So he concludes that Portia, whom many
men desire and is most precious must be contained in the golden
casket. Besides, the English have a gold coin with the figure of an
angel engraved on it. Portia is an angel and hence her portrait may
be in the golden casket.
(iv) The prince rejects the base lead arguing that it cannot contain such
a noble person like Portia and silver which is ten times inferior to
gold cannot contain Portia as she is such a rich gem.
(v) When the prince opens the casket he finds a skull and in its eyeless
socket a scroll. When the prince leaves the place, Portia calls it a
good riddance and wishes that every suitor like him should make
a similar choice.
2. (i) The given words appear on the silver casket.
(ii) Morocco initially doubts his worth to deserve the lady because he
thinks that though by his own standard, his merits may be very high,
yet those merits may not be sufficient enough to deserve Portia, as
her reputation is greater than his.
(iii) Morocco, after having doubts about his worth to win Portia, later
on changes his mind. He feels that he deserves Portia because of
his royal birth, his wealth, his virtues and his upbringing. Above
all, he is worthy of her because of his deep affection for her.
(iv) (a) And compare your personal worth impartially.
(b) A sign of weakness which would bring discredit on myself.
(v) Morocco read the inscription on the lead casket which stated that
whosoever selects it must be prepared to give all and to risk everything.
Act II Scene 7
29
Morocco declares that no one except a fool will be prepared to risk
everything for the sake of dull lead. He argues that lead cannot
contain such a noble person like Portia.
3. (i) The Prince of Morocco speaks these words. He is in a room in Portia’s
house getting ready to make his choice of caskets. In an earlier scene,
Morocco said that with his sword he had slain the emperor of Persia
and a Persian Prince, who had defeated Solyman of Turkey thrice.
He boasted that he was courageous enough to confront a hungry
lion, defy the most valiant warrior on earth and face the wrath of
a mother-bear by separating its young ones from her.
(ii) Shrine is a place where any sacred relic of a holy person or the image
of a saint is kept. In this context, the saint is Portia and the shrine is
Belmont. The Breathing Saint is a reference to Portia. Morocco says
that people came from every part of the globe to worship at the
holy place which enshrines this living object of adoration — Portia.
(iii) Before he makes the choice, the speaker is told by Portia that the
correct casket contains her picture and if he chooses it, she will be
his wife.
(iv) (a) Hyrcanian deserts: Hyrcania was a province of the ancient
Persian empire. Hyrcanian deserts were deserts lying in the
south of Caspian sea.
(b) The watery kingdom: The oceans and its fierce waves do not stop
suitors from abroad.
(v) The word ‘they’ refers to the many suitors who come to Belmont
from all parts of the globe to woo Portia. While coming they travel
through Persian deserts, immense wilderness of Arabia and even
cross the oceans.
4. (i) The Prince thinks that Portia’s picture is not in the silver casket
because silver is ten times undervalued as compared to gold and
such a rich gem can never be set in anything less than gold.
(ii) ‘Sinful thought’ is the thought that Portia is contained in the silver
casket because silver has only one tenth of the value of gold and a
rich gem like Portia can never be set in anything less than gold.
(iii) The ‘coin’ referred to in the extract is the gold coin in England
on which the figure of Archangel Michael standing and piercing
a dragon was engraved on one side. The coin was called an angel
and its value was about ten shillings. Morocco says that the figure
of the angel on the coin is engraved on the surface of the coin. It
is outside, whereas Portia is an angel, who lies on a golden bed
within the casket entirely hidden from view.
(iv) On the scroll it is written that things which make the most brilliant
show are not always the truest metal. For the sake of mere gold,
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hundreds have risked and sacrificed their lives. Costly gold-plated
tombs may be erected, but they have no real value. Decay and
death are all they contain. The message tells the Prince that if he
had been as wise as his courage and if he had united youthfulness
of body with the wisdom of riper years, the answer would have
been a living woman, not a written scroll.
(v) The theme of appearance and reality is shown in the choice made by
the prince. In spite of his good qualities, the prince is materialistic. He
only sees the outward appearance and value of the caskets. He thinks
that in birth, in fortune and outward graces, he deserves Portia.
However, he says nothing about his inner worth, that is, of his good
deeds, character and education. He chooses the gold casket for its
bright and glittering appearance. The prince is motivated by pride
and admiration, not true love. If he loved her, he would have been
ready to risk everything for her.
Act II Scene 8
Context Questions
1. (i) In the given lines, Salanio says that he has not seen such an
outburst of anger, so confused, so strange, excessive and frequently
changing as is displayed by the Jew. Shylock discovers that his
daughter has eloped after robbing him of his money and jewellery.
This makes him excited and furious with grief and despair. He gives
vent to it by an exhibition of passionate excitement and anger which
is strange, excessive and frequently changing.
(ii) Earlier, Shylock roused the Duke with his complaints against Lorenzo
and Jessica for robbing him of his money and jewellery and eloping.
He made such a disturbance that the Duke was obliged to attend to
his demands. He even accompanied the Duke to search for Lorenzo
and Jessica on board Bassanio’s ship. By the time they reached the
place, the ship had already set sail. The Duke was told by someone
that Lorenzo and Jessica had been seen sitting together in a gondola.
(iii) Besides money, the Jew’s daughter, Jessica store some jewels, precious
stones and diamonds.
(iv) (a) double ducats: coins of double ducats.
(b) a sealed bag: a bag that is securely sealed to ensure the security
of its contents.
(v) In his excitement, Shylock utters confused cries for his daughter,
Act II Scene 8
31
who had eloped with a Christian, taking with her, his ducats and
jewellery. He wants justice from the law.
Shylocks’ lamentations add to the humour in the play. He is depicted
as a comic character in the scene. The manner in which he laments
the loss of his daughter and his ducats amuses the audience; Shylock’s
repetition of ‘O my daughter! O my Christian ducats!’ indicate his
greedy nature and shows that Jessica is another possession for him
like the ducats. The manner in which all the boys of Venice follow
him and repeat his words of lamentation in a tone of mockery and
jeer at him further add to the humour in the scene.
2. (i) ‘Let good Antonio keep his day’ means let worthy Antonio make
sure that he has the money to pay Shylock on the appointed day. If
he fails to keep his day, Shylock would take his revenge on Antonio.
(ii) In his conversation with a Frenchman, Salarino heard that a richly
laden ship from Italy had been wrecked in the narrow channel
which divides England and France. The news was startling because
Salarino thought of Antonio’s ship and wished that it might not be
one of his ships.
(iii) Salarino wished that the wrecked ship might not be one of Antonio’s
ships.
(iv) Salanio advises Salarino to tell Antonio what he has heard about a
shipwreck. However, he advises him not to tell Antonio about the
news immediately for it may make him sad.
(v) The news given by the Frenchman creates suspense in the story.
The possibility of the wreckage of one of Antonio’s ships casts a
gloom since it may imply that Antonio would not be able to make
payment of the loan on the day the bond is due. After hearing the
news, Shylock would be happy as that would allow him to take his
revenge on Antonio.
3. (i) Antonio has said these words at the time of bidding farewell to
Bassanio, when the latter was about to embank on his journey to
Belmont. Salarino quotes his words here.
(ii) (a) Bassanio, do not spoil your plan for my sake.
(b) But stay as long as it would be necessary to attain your objective.
(iii) Antonio advises Bassanio to stay at Belmont as long as it would
be necessary for winning Portia and tells him not to bother about
the bond. He advises Bassanio to be cheerful and devote himself
entirely to win his lady-love in a most suitable manner.
(iv) While parting, Antonio’s eyes were filled with tears. He turned his
face away and extended his hand behind him. Then, moved by his
love, he held the hands of Bassanio and they parted from each other.
It shows that there is great love and affection between them.
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(v) Salanio and Salarino provide information about recent events. They
report Shylock’s fury and parody his behaviour. They are worried
about Antonio and go quickly to look for him and cheer him up.
They do not take part in the action of the play, but keep the action
going when the chief characters are absent. At the end of the scene,
Salanio and Salarino decide to look for Antonio and raise his low
spirits with some amusement.
Act II Scene 9
Context Questions
1. (i) To honour Arragon as a prince, trumpets were sounded as he entered
the room and Portia addressed him as ‘noble prince’.
(ii) Arragon is bound by the oath to observe three conditions. First, he
must never reveal to any other person which of the caskets he has
selected. Second, if he does not win Portia, he should not woo any
other lady. Third, if he chooses wrongly he must depart at once
without further words.
(iii) At the end of the scene, Arragon promises Portia that he would
keep his promise and exits immediately as stipulated in the third
condition that he would depart at once without further words.
(iv) It is not wise to arrange marriages through a lottery system where
chance plays a significant role and so may not allow one to choose
the person of his or her choice. Nerissa justifies the lottery of caskets
saying that her father was a virtuous man, who must have had her
well-being at heart. So, according to her father’s will she will be
chosen by someone who will truly love her.
(v) Prince Arragon is too proud and self-opinionated. While making
his selection, he calls the common people as ‘fool multitude’ and
as ‘barbarous multitudes’. He says that he will not act according
to what common men choose and put himself on the level of the
ignorant and the foolish. Secondly, Arragon thinks himself to be
most deserving because of his inherited nobility.
2. (i) The inscription on the gold casket says ‘who chooses me shall gain
what many men desire’. The speaker chooses the silver casket.
(ii) Arragon says that the words ‘many men’ probably refer to the
foolish majority, who are so slow-witted and who have so little
wisdom that they judge only by appearances and outward glitter.
Their untaught eyes never see the inner meaning of things, but is
content to remain on the outside like the swallow.
Act II Scene 9
33
(iii) Arragon compares the multitude to the martlet. The martlet, instead
of seeking a sheltered place for its nest, constructs it in the most
exposed places like the outer wall, unprotected from, any stormy
weather or any accident which may occur. Similarly, the foolish
common people who judge by the outside of things, fall into errors
and calamities.
(iv) (a) open to disaster and in the very path of danger.
(b) I don’t put myself at the level of the ignorant and foolish common
people.
(v) The theme of appearance and reality is brought out in the choice of
caskets. The ability to distinguish between reality and appearance
depends not on intelligence but on insight and deeper human values.
Arragon’s choice of the silver casket is influenced by materialistic
considerations and self-love and not by love for Portia. Portia’s father
devised such a choice of caskets for Portia because he wanted her
to be chosen by someone who truly loves her.
3. (i) The inscription on the silver casket says, ‘who chooses me shall get
as much as he deserves’.
(ii) Words on the inscription on the silver casket appeal to Arragon
because the word ‘deserves’ meaning ‘merit’ in the inscription appeals
to him. He thinks himself to be the most deserving. He feels that
there are many who succeed without having any inner merit. But
he ‘deserves’ because of his inherited nobility.
(iii) To try to cheat fortune and win something without merit. It means
no one ought to be allowed to deceive and trick fortune by asking
her for what he does not deserve.
(iv) Arragon tells that no man should aspire to be honoured unless he
deserves it. Arragon wishes that all the positions of rank, dignity and
offices were bestowed on the deserving, instead of being obtained
dishonestly. If this happens, many low ranking people would be
separated out from the ranks of the truly honourable.
(v) Arragon finally chooses the silver casket. After making the choice,
Arragon is dumb-founded and very disappointed with what he finds
in the casket. He pauses silently for a long time before speaking.
He says that there is such a difference between that creature and
the picture he hoped to see. He asks Portia whether he deserves no
more than the head of a fool. He wants to know whether that is his
prize and whether he deserves nothing more than that.
4. (i) Arragon speaks these words after opening the silver casket. He is in
a mood of disappointment. He came to woo Portia with one foolish
head of his own.
(ii) The second head he got was from the silver casket. The scroll
attached to the second head says that silver metal of the casket was
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tested seven times by fire. A mind which never makes an error of
judgment must be similarly tested seven times. Some people find their
happiness in shadows and unreality. Their happiness is therefore only
shadowy and unreal. There are many living fools whose foolishness
is hidden by their silvery-hair because they have the appearance of
being venerable and wise. One of these is the fool’s head concealed
in the silver casket. Arragon will always have a foolish head. He
should now leave as his chance is over.
(iii) The speaker chooses the silver casket. The motto of the silver casket
appeals to the speaker. It says ‘who chooses me shall get as much
as he deserves’. He feels that he deserves Portia because of his
inherited nobility.
(iv) After the departure of the prince, Portia says that there is another
moth which has burnt itself in the flame of the candle. These people,
when they choose, the wisdom of their superficial knowledge makes
them look utterly foolish and lead them to make the wrong choice.
(v) After the Prince’s departure, Nerissa utters an old saying “Hanging
and winning goes by destiny”. It means that it is fate that decides
what happens to one, whether one is to be hanged or to be wedded.
It implies that it is destiny that has saved Portia from two unsuitable
suitors and it is destiny that may give her a worthy suitor.
The servant describes the young suitor as a generous ambassador
of love who has sent his attendant with costly gifts in addition to
greeting and messages.
5. (i) This scene takes place in a room in Portia’s house at Belmont.
Gratiano has alighted at the gate.
(ii) Gifts of rich value indicate the great regard and love Bassanio has
for Portia.
(iii) In the last three lines of the extract, the servant describes the young
suitor, who comes after the departure of the prince as the one who
is so generous an ambassador of love. Even a day in April, the
sweetest spring day, coming to give people a foretaste of bright and
bountiful summer, is not comparable to this gorgeous horseman,
who comes before, announcing the arrival of his master.
(iv) Portia asks the servant to stop speaking about the new suitor because
he is so generous in his praise that she is dreading to hear him say
that he is some relative of his. Then Portia tells Nerissa to come
quickly along with her to meet this messenger of Cupid, who has
arrived in such a courteous manner. Nerissa prays to Cupid, the
god of love, that the lord announced be Bassanio if such is his will.
(v) Portia tells the servant to be silent because he is too extravagant
in his praises that she is dreading to hear him say that he is some
relative of his.
Act III Scene 1
35
The plot of the play makes further progress in this scene. This scene,
the second of the casket scenes, is important because it fills up the
interval of the three months between the signing up of the bond
and the forfeiture. It also seems to reveal the wisdom of the device
of caskets because it shows that the results are not a mere lottery. It
proves that only the person, who rightly loves, will choose rightly.
This scene also, reveals to the audience which is the right casket.
It will heighten the suspense during Bassanio’s selection later. This
scene also keeps up the theme of appearance and reality.
Act III Scene 1
Context Questions
1. (i) The scene takes place in a street in Venice. In the first line ‘she’ refers
to the rumour or report which is personified as a tatling old woman.
When Salarino talks about Antonio’s ship, Salanio only wishes that
Rumour may prove to be a big liar in this case as any old woman,
who ever gossiped with her neighbours over her ginger bread cakes
and made her neighbours believe that she mourned sincerely for the
death of her third husband.
(ii) Earlier, it was told that Antonio’s ship was wrecked in the waters
of the English channel at a spot known as Goodwin Sands, a most
perilous sand bank. The news about the ship-wreckage spread at the
Rialto or the Exchange where merchants met for business transactions.
(iii) The given words mean: ‘without speaking much or beating about
the bush’. That is without being guilty of any lengthy, irrelevant or
tedious speech or going outside plain direct speech.
(iv) Shylock was pleased to hear about the loss of Antonio’s ship. He
called him a spendthrift and a beggar, who used to come smiling,
so self-satisfied to the market.
(v) In the given extract, Salarino and Salanio express their feelings of
concern and sympathy for Antonio. Salanio calls him ‘good Antonio’,
honest Antonio and wants a better adjective to describe ‘him’. Salanio
conveys the news that Antonio has lost a ship. Salarino hopes that this
may be the end of his losses. Shylock enters the scene at this time.
Salarino says that he is aware of the fact that his daughter, Jessica
has eloped. He then tells Shylock that there is a difference between
him and his daughter as is between black and white. Further, there
is a difference between his blood and hers like there is between
ordinary red wine and the expensive white German wine.
2. (i) The flight of Jessica is being talked about. She has flown to Belmont.
Jessica has flown with Lorenzo.
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(ii) Just before the arrival of Shylock, the news about Antonio’s
ship-wreck in the English Channel at a spot called Goodwin Sands
is given.
(iii) The given words mean that it is the nature of a fully feathered young
bird to leave the nest when it is old enough. He means to say that
Jessica was old enough to run away with her lover, Lorenzo.
(iv) Shylock took all possible steps to get back his eloped daughter. He
asked the Duke for justice and even persuaded him to check the ship
in which Bassanio left for Belmont. Later it was said that someone
saw Lorenzo and Jessica in a gondola. Shylock engaged his friend
Tubal for finding and bringing back Jessica to him.
(v) After the extract, Salarino compares the character of Jessica and
Shylock. He says that Jessica is a complete contrast to Shylock as
black is to white or as ordinary red wine is to expensive white
Rhenish wine.
3. (i) A ‘bankrupt’ means a person who has not enough money to pay
off his just debts. ‘Prodigal’ means a spendthrift who spends money
recklessly. The man has gone bankrupt because his ship has been
wrecked in the English Channel with its rich cargo. He is a spendthrift
who has mismanaged his affairs and has gone bankrupt. That is
why he is called a prodigal by Shylock.
(ii) The Venetian Stock Exchange where the merchants used to meet
to transact business deals, was known as the Rialto. The man used
to go to Rialto smiling and so self-satisfied because he was sure
of his financial position as he owned a number of ships carrying
merchandise to the four corners of the world. Shylock says these
words to compare Antonio’s financial position in the past with his
present bankrupt condition.
(iii) The man referred to in the extract, i.e., Antonio, used to insult
Shylock. He used to disgrace him, laugh at his losses, mock at his
gains, despise his race and interfere in his business deals simply
because he was a Jew.
(iv) The bankrupt caused loss to Shylock in Venice by lending money
without interest and thus, affecting Shylock’s business of lending
money at exhorbitant rate of interest.
(v) The bankrupt is likely to go into a loss as his ship has been wrecked
with its rich cargo. Besides, he is to pay three thousand ducats he
had borrowed from Shylock for Bassanio. Such a loss will favour
Shylock to pursue his plan of revenge against Antonio.
4. (i) The thief referred to in the extract is Shylock’s daughter, Jessica. The
thief had stolen his money, gold and gems, including a diamond
costing two thousand ducats. After the theft, Shylock has to spend
money to locate Jessica. So he has suffered loss upon loss due to
the theft.
Act III Scene 1
37
(ii) Tubal is another Jew, a friend of Shylock. He went to Genoa to
search for Jessica, who has eloped with Lorenzo.
(iii) Tubal brought the news that he went to the places in Genoa where
he heard some news about Jessica but could not find her.
(iv) Shylock uses the expressions ‘satisfaction’ and ‘revenge’ in the context
of his efforts to retrieve his lost money and eloped daughter. His
daughter, Jessica had stolen money, precious stones, and many other
jewels. His efforts to locate her and retrieve them have not succeeded.
So, he has neither the satisfaction of getting back his lost daughter
and money nor taking revenge on the Christians, who caused her
elopement.
(v) One of Antonio’s large ships has been wrecked on the way back
from Tripolis. This was the ill-luck that befell Antonio. Shylock was
happy over the news as his chances of taking revenge on Antonio
became brighter.
5. (i) Tubal says that Antonio is undone because he has heard from some
of the sailors he met in Genoa that one of Antonio’s large ships has
been wrecked on the way back from Tripolis. Leah was Shylock’s
wife. In the context of the theft, Shylock makes a reference to his
bachelor days. His wife Leah gave a turquoise ring to him before
their marriage. His daughter Jessica stole that ring before eloping
and exchanged it for a monkey.
(ii) In this scene, Shylock is in a mood of grief. He feels as if he is the
only one in the world suffering from ill luck. Tubal is said to be
torturing Shylock by giving alternate accounts of Antonio’s losses
and Jessica’s extravagances. He alternately makes Shylock elated
and depressed for apparently no reason. He elates him by the news
of wreckage of Antonio’s ship on its way back from Tripolis, while
he depresses him by saying that he could not find Jessica and that
she had spent eighty ducats on one evening and exchanged a ring
with a merchant for a monkey.
(iii) Antonio’s misfortune makes Shylock elated because he will be able
to take his revenge on Antonio. He will punish Antonio by exacting
a pound of flesh from any part of his body. By his revengeful action,
he would avenge his hatred for Antonio and the Christians. Further,
if Antonio is removed from Venice he can make profits as he likes.
(iv) A synagogue is a Jewish house of prayer. Shylock’s journey to the
synagogue gives us the clue that he will take revenge on Antonio.
Shylock believes in the old Mosaic law, which prescribed an eye for
an eye, and a tooth for a tooth. So, Shylock feels he is justified in
taking revenge against an enemy of his religion and race.
(v) Shylock’s passion for revenge and his complete justification of
it is given in this scene. He explains the insults he has suffered
unjustly and his right to take revenge. He believes that he is doing
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as his enemies would do. The fierceness of his thirst for revenge is
expressed in his final threat ‘I will have the heart of him’. In this
scene, Shylock appears as a blood-thirsty, vindictive and self-centred
man. He is more worried about the loss of his money than the loss
of his daughter. He is determined to take a pound of Antonio’s
flesh to take his revenge on him. But when he expresses his deep
anguish at his daughter’s act of exchanging his dead wife’s ring in
exchange for a monkey, he appears as an affectionate husband and
as a tormented alien.
Act III Scene 2
Context Questions
1. (i) This scene takes place in a room in Portia’s house at Belmont. The
first line refers to Portia’s maidenly modesty according to which she
has no other choice except to think, though she may not express her
thoughts. Portia says enough to convey to Bassanio that she loved
him. She is doubtful whether Bassanio has understood what she
has said and wanted to explain further. But then she is taken over
by her maidenly modesty.
(ii) At the end of her speech, Portia says that she spoke at length to
stretch the time and delay to the fullest extent Bassanio’s act of
choosing the caskets. This shows that she has feelings of love for
Bassanio and does not want to lose him soon. In her speech, she
repeats her wish to make him stay in Belmont for a month or two
before he hazards the choice of the caskets.
(iii) Portia cannot teach Bassanio to choose the correct casket as she
has promised her father not to reveal the secret of the caskets to
anyone. She would never break her pledged word. If Bassanio were
to make an incorrect choice he would lose Portia and Portia would
have wished that she should have broken her promise.
(iv) The given lines mean, ‘May your eyes be confounded. They have
cast a spell on me and divided me’. Portia says that Bassanio’s eyes
have cast a spell on her and divided her for she no longer seems to
be herself. She says that half of her belongs to him and the other
half to her. Even if the latter half is hers, it would still be his. So
she is entirely his.
(v) The extract shows that as a lover, Portia loves Bassanio and does
not want to lose him and wants to detain him with her for a month
or two. Also she wants to train him how to choose the right casket.
She says that Bassanio’s eyes have bewitched her and divided her.
She affirms that she is completely his. But as a dutiful daughter,
she will never guide Bassanio to choose the right casket as it would
break her promise to her father.
Act III Scene 2
39
2. (i) It means: If Bassanio were ‘to die’, that is, to lose the love for Portia,
by choosing the wrong casket, then his end will be accompanied by
the fading music, like the swan that sings before it dies. There was
a contemporary belief that the swan, which is usually mute, sang a
beautiful song just before its death. The swan-song was sung only once.
(ii) Portia calls for music first of all to calm the excitement in her own
heart and her tension when Bassanio is choosing the casket. She further
defends her action saying that if Bassanio fails he will bid him his
last farewell in the midst of music and thus will be like the swan
that sings before it dies. If Bassanio succeeds, the music will add
to the festive atmosphere of the occasion, making everyone happy.
(iii) Portia explains the condition if Bassanio fails to choose the right casket.
In that case, he will have a swan-like end. Making the comparison
more explicit, Portia says that her eyes with tears will be Bassanio’s
watery grave as the river is the grave for the dying swan.
(iv) If Bassanio is successful in the choice of caskets then the music also
represents the sweet notes of music that awakens the dreaming
bridegroom on the morning of his marriage and tells him that his
wedding day has come. It refers to an old English custom of playing
music under the windows of the bridegroom on the morning of the
wedding day.
(v) In the given scene, Portia acts as a romantic heroine. Her maidenly
modesty and bright wit is seen when she detains Bassanio a little
longer while making his choice. She accomplishes the difficult task of
revealing to Bassanio her affection for him. When Bassanio chooses
correctly, she is happy and surrenders herself, her property and
her servants to Bassanio. She also offers him a ring and makes him
promise never to part with it.
The theme of love versus wealth is developed in the scene by
comparing the choice of casket made by Morocco and Arragon with
that of Bassanio. Morocco and Arragon were led, in their choice by
appearance of gold and silver. On the other hand, Bassanio was not
deceived with outward appearance. Therefore, he rejected the gaudy
gold and pale silver and instead chose the unattractive meagre lead.
Bassanio was able to make the right choice as his motive was love
rather than wealth.
3. (i) Alcides refers to young Hercules, son of Alcaeus. In Greek mythology,
he is depicted as a strong and courageous youth. ‘Virgin Tribute’ refers
to Hesione, the unmarried daughter of the Trojan King. Hesione was
tied to a rock on the sea-shore of Troy, expecting every moment to
be devoured by the sea-monster. Hercules saved the ‘Virgin Tribute’
by killing the sea-monster and setting her free. Here Portia compares
her tension and suspense while Bassanio makes his choice of caskets
to the anxiety of Hesione, waiting for the sea-monster’s attack. She
sees Bassanio as having more love than Alcides.
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(ii) Portia compares Bassanio to Hercules by saying that Bassanio has
as much dignity of bearing as Hercules had, but he goes with much
more love than Hercules. Hercules did not go to save Hesione out of
love but to get the horses offered as a reward. Here Portia compares
herself to Hesione, who was offered as a sacrifice to a sea-monster.
Similarly, if Bassanio chooses the wrong casket, she will fall into
the clutches of an unworthy suitor.
(iii) (a) howling Troy: the loud lamentations of the people of Troy at the
sacrifice of Hesione.
(b) bleared visages: means tear-stained faces. The reference is made
to the Trojan women who had assembled on the beach with
tear-stained faces to wait and watch the result of the encounter
between the sea-monster and Hercules.
(c) The issue of the exploit: It means the outcome of the rescue
operation. It refers to the outcome of the encounter between
Hercules and the sea-monster.
(iv) ‘The rest aloof’ referred to in the extract are people in the room
like Nerissa, Gratiano and others whom Portia compares to Trojan
women. Dardanian wives are Trojan women. Dardanus was the
mythical ancestor of the Trojans, who were called Dardanians. The
Trojan women had assembled on the beach with tear-stained faces
to wait and watch the result of the encounter between Hercules and
the sea-monster.
(v) Portia asks Bassanio, ‘Go Hercules’ because in her opinion the
similarity between Bassanio and Hercules is complete and perfect.
Portia tells Bassanio to go ahead and choose the casket. While he
is choosing she will be watching the test with much more anxiety
than he, who has to make the choice. She says that if he lives, that
is, he succeeds, she lives. If he fails, it is death for her.
4. (i) In the given extract, the theme of appearance and reality is highlighted.
Bassanio, commenting on the caskets says that a pretty exterior may
often hide a rotten interior. The multitude is always led astray by
decorations and adornments of various kinds. He is highlighting
this theme by providing the examples of lawyers, religious heresies
and cases of cowards, who assume outward signs of valour.
(ii) Bassanio says that every wrong has some appearance of virtue. He
explains it through the example of a lawyer. In a law-suit, possession
of a pleasing voice and attractive presence in a lawyer, entirely hide
any appearance of wrong in the cause he pleads. The ornament of
the voice gives an unsound plea, the false appearance of a good
reality. Similarly religious heresies can be glossed over if a preacher
makes them appear as true and just.
(iii) ‘Stairs of sand’ refer to a stairway made of shifting sand. Such a
stairway is unreliable and gives way beneath the footstep it should
support. These stairs are compared to cowards, who cultivate beards
to give them the appearance of great warriors like Hercules and
Act III Scene 2
41
Mars. The manly appearance is cultivated only to deceive the world
into thinking that they are formidable.
(iv) The Elizabethans looked upon the liver as the seat of courage. A
brave man’s liver was said to be red with blood. Cowards were
spoken of as having white livers.
(v) Hercules was a great hero in Greek mythology and Mars was the
Roman god of war. Hercules and Mars are referred to here because
they, with their beards, stand for strength, manliness and bravery.
5. (i) Bassanio says that if we take the case of beauty we find that an
imitation of it is easily obtainable and may be brought in the market.
The cosmetics which enhance beauty can be bought by weight in
a chemist’s shop. These bring about a marvellous change in the
appearance of women. The word lightest is punned on Bassanio
means that the addition of cosmetics makes a woman ‘light’ that is
fair coloured. The other meaning of ‘lightest’ is to be frivolous and
fickle-minded.
(ii) ‘Crisped snaky golden locks’ refer to false hair that women wear.
Bassanio says that the shining, golden tresses whose ringlets are
tossed about by the playful breeze, seen on the head of a woman,
appear to be real. Actually it is false hair and originally it belonged
to a dead woman, who is lying in the grave.
(iii) The ‘dowry of a second head’ refers to the false hair (wig) worn by a
woman, that appear to be real but actually is a gift from some dead
woman, i.e., it originally belonged to a dead woman who is lying
in the grave. Shakespeare refers to the popular custom of wearing
wigs among the Elizabethan women.
(iv) Bassanio says that outward adornment is always deceptive. It is
like the attractive but treacherous sea-shore that leads people into
perilous waters.
(v) Bassanio asserts that appearances are deceptive. Two examples he
mentions are : First, the shining, golden false hair that some women
wear. Though they look real, they belong to a dead person. The
second example is that of a lovely scarf that hides the ugly face of
an Indian beauty.
6. (i) The gentle scroll was in the lead casket. On the scroll it was written
that since he has not chosen by mere outward appearances, he may
be fortunate and make his choice as wisely as he has done. Since this
fortune has come to him, he should be satisfied and seek nothing
more for his happiness. If he is pleased with his luck and feels that
fate has brought him happiness, he should go to his beloved and
claim her as his own with a loving kiss.
(ii) The speaker has won Portia. The speaker chose the correct casket, i.e.,
lead casket containing Portia’s portrait. Its simple looks impressed
Bassanio more than the protestations of gold and silver. Besides, the
inscription on the casket stated that the man who chooses it, must
give and hazard his whole being which means his true love.
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(iii) The speaker was asked to go to the lady and claim her as his own
with a loving kiss and receive a kiss from her.
(iv) (a) universal shout: loud applause of joy. This refers to the shouts
of approval from everyone present there at Bassanio’s choice of
the right casket.
(b) Giddy in spirit: overwhelmed with joy. This speaks of the bewildered
state of mind of Bassanio after his choice of the lead casket.
(v) The speaker compares himself to the one who is striving to win
some contest, like one of two prize-fighters. He compares himself
as someone who wins a prize in the contest.
Bassanio is at the height of his joy after choosing the correct casket.
He hears a loud applause from the people standing there. He is so
bewildered by the outcome of making the correct choice, that he is
not sure if the applause is for him or not. He asks Portia to confirm
it and sanction it by returning his kiss.
7. (i) After Bassanio chooses the correct casket, Portia transfers her mansion,
her servants, herself and all her possessions to him.
(ii) Portia, for the sake of Bassanio wishes that she were sixty times better
than herself, a thousand times more beautiful and ten thousand times
wealthier. These wishes express her desire to excel in everything for
the sake of Bassanio.
(iii) As a token of her love to Bassanio, Portia gives him a ring. She warns
him that if he parts with the ring or loses it or gives it away, that
will be a sign that his love for her is dead and give her the right
to reproach him. The ring becomes a part of the main plot of the
story as it starts the ring episode we come across later in the play.
(iv) The given lines mean: ”Let that be a sign that your love for me is
dead and it will give an opportunity for me to accuse you for that.”
Here Portia asserts that if Bassanio loses the ring she has given him,
it will show the loss of his love for her and will give her the right
to reproach him.
(v) After Portia’s speech, Bassanio is overpowered with emotion and
he tells Portia that her love and goodness has made him speechless.
Regarding the ring, Bassanio promises Portia that when the ring
leaves his finger, his spirit will flee and his life will leave him. He
will part with the ring only at his death.
8. (i) After Bassanio’s successful selection of the right casket and after the
speeches of Portia and Bassanio Nerissa greets them and wishes them
great joy. Thereafter Gratiano speaks these words. Gratiano wishes
Portia and Bassanio that all the joy and happiness they desire may
be showered upon them.
(ii) Gratiano requests Bassanio to grant him a special favour — that is,
to allow him to marry at the same time as they marry, i.e., Portia
and Bassanio.
(iii) Bassanio gives his consent most heartily, provided Gratiano can get
a wife.
Act III Scene 2
43
(iv) While Bassanio wooed Lady Portia, Gratiano wooed her lady-inwaiting, Nerissa. However, the promise that Gratiano received from
Nerissa was that Nerissa would love Gratiano provided that Bassanio
had the good fortune of winning the love of Portia by selecting the
right casket. Thus, Gratiano’s fortune too stood on the caskets.
(v) Gratiano-Nerissa episode has added humour to the story. The
romance and marriage of Nerissa and Gratiano strengthen the old
belief that characters in association with nobility are themselves
ennobled. Gratiano experienced the joy of love in the company of
Bassanio. Nerrisa being educated by her mistress Portia, was able
to win a gentleman’s love. Gratiano, with a keen sense of humour
arouses much mirth and laughter in the scene.
Lorenzo and Jessica. They are united when Jessica elopes with his
father Shylock’s money and jewels. Shylock loses the case against
Antonio and Jessica gets half the share of Shylock’s wealth.
9. (i) The scene takes place in a room in Portia’s house at Belmont. Salerio
brings the letter from Antonio to Bassanio.
(ii) Portia concludes that there is some bad news in the letter because
as soon as Bassanio reads the letter, his face turns pale and he
becomes greatly agitated. According to Portia, the bad news in the
letter must be about the loss of someone loved by Bassanio.
(iii) Portia begs of Bassanio to tell her the cause of his sorrow as she and
Bassanio are one, and she ought to share in everything that happens
to him. Hence, she asks Bassanio to tell her what news that letter
has brought.
(iv) Bassanio tells Portia that the letter contains some of the most
unwelcome news. He tells Portia that he is deeply indebted to a
kind friend. This friend for his sake agreed to a bond with his worst
enemy, a man, who hates him. He did this solely to supply Bassanio
with the money he needed to come to Belmont. Bassanio looks upon
Antonio’s letter as if it is his body and the cruel words of the letter
as wounds from which blood is gushing out. He then tells that all
the ships of Antonio have been wrecked on the dangerous rocks.
(v) Salerio said that Shylock was a greedy man, who could destroy
another man for the sake of money and revenge. So twenty merchants,
the Duke and the noblemen could not persuade him to give up
his revengeful claim of the bond. Therefore, even if Antonio had
sufficient money, Shylock would not accept it because his aim was
to inflict pain on his enemy, i.e., Antonio.
At the end of the play, Shylock lost the bond and his desire for
revenge recoiled on him and he had to lose his property, his daughter
and his religion.
10. (i) Tubal and Chus are two Jewish friends of Shylock. When Jessica was
at home, she had heard Shylock swearing to Tubal and Chus that
he will have the penalty carried out and that a pound of Antonio’s
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flesh would give him more pleasure than to be paid the debt twenty
times over.
(ii) The Duke, law and influential citizens would use all their powers
of persuasion to prevent Shylock from taking his cruel forfeiture.
(iii) If the forfeiture is denied to Shylock as per the terms of the bond,
there was the danger of Shylock taking legal action against the city’s
governors and call in question the equality of rights of foreigners
with the citizens of Venice. Thus, there was the danger of Shylock
bringing discredit to the business in Venice.
(iv) In terms of payment to Shylock in cash, Portia offers to pay him
double the amount. Then she says to give him double of six thousand
and then three times of that. Later she says that she will give him
enough gold to pay the debt twenty times over.
(v) Since the payment of the penalty means his death, Antonio’s last
wish is to see Bassanio before he dies. He says that it will cancel
all bonds and obligations between Bassanio and him. However,
he adds that Bassanio should do as he wishes and should not pay
any attention to Antonio’s welfare. Antonio’s last wish shows his
affection for Bassanio and that he lives only for him.
11. (i) Portia gives money to Bassanio and sends him to rescue Antonio.
She makes a plan to disguise herself as a lawyer and Nerissa as her
assistant and then go to Venice to rescue Antonio from the clutches
of Shylock.
(ii) (a) ‘call me wife’: make me your wife, get married to me.
(b) ‘With an unquiet soul’: with a disturbed, grief stricken mind.
(iii) Bassanio was supposed to go to Venice and offer double the amount
of bond to Shylock and cancel the bond. If he did not agree to that
Bassanio is to offer him, double of six thousand ducats or three
times that amount or even twenty times the bond amount.
(iv) Portia and Nerissa were to stay in Belmont as spinsters or widows
after their husbands leave for Venice. But in fact they did not do
so. Portia and Nerissa went to Venice in disguise of a lawyer and
her assistant, respectively and played a constructive role in saving
Antonio from the clutches of Shylock.
(v) This scene is important for the forward movement of the storyline.
It completes the casket story and brings it in direct contact with the
other stories — the bond story, Jessica-Lorenzo love story and the
ring story. The ring story begins in this scene. The bond story is
revealed through Antonio’s letter and Bassanio’s return to Venice.
It is true that after the choice of the casket by Bassanio, Portia takes
over leadership in the play. When Antonio is in trouble, she offers
Bassanio twenty times the bond amount to save Antonio. She herself
dons the guise of a lawyer and using a perfect blend of mercy and
justice saves Antonio.
Act III Scene 3
45
Act III Scene 3
Context Questions
1. (i) Shylock asks the jailer to guard Antonio closely and see that he does
not escape. He tells him not to ask him to show mercy to Antonio.
The extract shows that Shylock was against Antonio. He insists on
having the bond saying that he has taken an oath to exact the full
penalty of the bond. Besides, he says that since Antonio called him
a ‘dog’, Antonio should beware of his teeth, as they can bite.
(ii) (a) lent out money gratis: lending money without interest.
(b) beware my fangs: beware of my teeth. That is beware of my revenge.
(iii) After this extract, Shylock angrily tells the jailer that he is surprised
at his being so foolish as to yield to Antonio’s request and to bring
him out in the open. He censures the jailer for bringing him out.
(iv) The short scene shows the determination of Shylock to extract the
penalty as stipulated in the bond. His passion for revenge is revealed
in this scene, when he savagely cries to the jailer to guard Antonio
closely and see that he does not escape. He refers to the bond five
times in the scene and refuses to listen to Antonio’s pleas. His
determination is sealed by his statement that he has sworn an oath
that he will have his bond.
(v) Shylock wants the Duke to allow him to have his bond and do justice
to him. The scene is important because it brings the action near to
the Trial Scene. It adds suspense to the bond story as it shows that
it is impossible for Antonio to escape Shylock’s revenge. This scene
fills the interval before the Trial scene and allows time for Bassanio’s
journey from Belmont to Venice.
2. (i) When Antonio’s continuous pleas to Shylock to listen to him fail
and he insists on having his bond, Antonio get enraged. He says
that Shylock wants to take away his life because he has frequently
helped Shylock’s debtors out of his clutches when they approached
him for help. This has made Shylock to hate him.
(ii) Salarino says that he is sure that the Duke will never permit the
penalty of the bond to hold good in law.
(iii) Strangers referred to in the extract are the traders and businessmen
from other countries doing business in Venice. Here, specific reference
is to Shylock, a Jew, a foreigner. They do trade and business in Venice.
(iv) The Duke cannot deny the course of law to the strangers. Firstly, the
rights and privileges of trade that foreigners have in Venice cannot
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be denied. If denied they will expose the justice system of the state
to reproach. Secondly, prosperity of Venice depends on its trade with
foreign nations. If injustice is done to Shylock, other foreigners will
raise alarm and objections. They will lose confidence in the justice
system and it will affect the trade in the city.
(v) Antonio’s final wish is to see Bassanio before he dies. This shows
his great love and affection for Bassanio. Antonio resigns himself
to his fate but takes comfort in the thought that he is going to die
for the sake of his friend.
Act III Scene 4
Context Questions
1. (i) Antonio is referred as a true gentleman. He is in need of relief as
Shylock insists on the penalty for the forfeiture of the bond, which
is a pound of flesh from any part of his body.
(ii) The relationship between the gentlemen, i.e., Antonio and Bassanio
is that of love, affection and friendship. Antonio readily agrees to
Shylock’s bond to give money to Bassanio to woo Portia and never
regrets his generosity even at the forfeiture of the bond. His last
wish is to see Bassanio before he dies. Bassanio reciprocates the
same sentiments by rushing back to Venice soon after his marriage
to save his friend.
(iii) (a) an equal yoke of love: by the same bond of love.
(b) Of lineaments, of manners and of spirit: features, mind, behaviour
and disposition.
(iv) Portia says that when two people are close friends and are united
by the tie of mutual love, their two natures may have many things
in common. There must be a certain similarity of features, mind,
behaviour and disposition. This makes her conclude that the true
gentleman, i.e., Antonio must be like Bassanio.
(v) Portia asks Lorenzo to take care and management of her household
till she and Nerissa live in prayer and meditation in a monastery
and till her husband comes back.
The given scene shows Portia’s intellectual ability, her devotion to
Bassanio and her admiration for Antonio. She feels that since Antonio
is like Bassanio in mind and personality, her admiration for Antonio
is justified.
2. (i) The given words mean: the control and management of my house.
Portia tells Lorenzo that she gives into his hands the entire management
and care of her mansion till the return of her husband.
Act III Scene 4
47
(ii) Portia gives Lorenzo the complete control and management of her
mansion till her husband’s return. Portia says that she has taken a
secret oath to pass her days in religious exercises and holy meditation
with Nerissa alone as her companion until the return of her husband.
(iii) Portia’s intention in leaving her home was to go to Venice to save
Antonio from the clutches of Shylock by disguising herself as a
lawyer. She needed Nerissa to act as lawyer’s clerk.
(iv) Portia was leaving her house under the pretext of spending her
days in religious exercises and holy meditation in the company of
Nerissa till the return of her husband.
(v) Portia says that during her absence Lorenzo would not find any
difficulty in running her house because she has instructed her
servants to accept Lorenzo and Jessica as their master and mistress
till she comes back.
In this scene, Portia shows her intelligence and good management
skills. She devises a plan to save Antonio from the clutches of Shylock.
After consulting her cousin Dr. Bellario, she decides to go to Venice,
dressed as a lawyer with Nerissa dressed as lawyer’s clerk. She
entrusts to Lorenzo and Jessica the administration of her mansion.
It is her intelligent planning and management of the situation that
take the action of the play forward.
3. (i) Portia sends Balthazar to Padua to Dr. Ballario. She chooses him for
this errand as Balthazar is her honest and trustworthy servant.
(ii) Balthazar takes with him a letter to be given to Dr. Bellario of Padua,
a lawyer and Portia’s cousin.
(iii) (a) with imagined speed: with maximum speed one is capable of.
(b) to the common ferry/ Which trades to Venice: to the public ferry-boat
which plies to and from Venice.
(iv) The purpose of sending Balthazar to Portia’s cousin was to hand
over to him her letter and then to bring back from him certain letters,
notes and robes. Notes prefer to Dr. Bellario’s written opinion about
the case. Robes refer to the robes of a Doctor of Law for Portia and
the dress of a lawyer’s clerk, meant for Nerissa.
(v) After Balthazar’s departure, Portia gives Nerissa a hint regarding
their mission saying that she has some urgent work. She also says
that they will go to the place where their husbands are. Portia will
outline the rest of the plan to Nerissa in the coach which will carry
them to their destined place.
4. (i) The husbands of Portia and Nerissa would not recognise them
when they would see them because they will be dressed like young
men — one a Doctor of Law and the other as his clerk.
(ii) After she reaches her destination dressed as a young man, Portia will
wear a dagger by her side. She will speak in the husky voice of a
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youth, passing from boyhood to manhood. She will walk with long
manly strides instead of two short and quick steps of a woman. She
will talk of broils and fights like a boastful young man. She will tell
fanciful stories, as for instance how many great ladies have loved
her and died of a broken heart. She says that her mind is full of
thousands of school-boyish pranks and she will try them all.
(iii) Portia will tell fanciful stories as for instance how many great ladies
have loved her and died of a broken heart because she did not love
them in return. Then she would say that she could not help it and
pretend she is sorry for them and that she wished they did not die
for her sake as it was not her fault. Similarly, she would tell scores
of other little inventions and lies. She expects men to believe that
she has left school more than a year.
(iv) (a) puny lies: credible lies, lies that are convincing.
(b) raw tricks: inexperienced tricks of youth.
(c) bragging Jacks: boastful fellows.
(v) Portia tells Nerissa that she will outline her future plan to her in the
coach while travelling to Venice. This scene describes the imaginative
skills of Portia. She plans in detail the plan of action and decides
clearly her and Nerissa’s roles in it. The way she plans to speak and
walk and tell boastful lies clearly indicate Portia’s imginative skills.
Act III Scene 5
Context Questions
1. (i) Launcelot is in the garden of Portia at Belmont. Launcelot is
discussing with Jessica the question of her salvation. He says that
being the daughter of a Jew, she will be damned, that is there is no
salvation for her soul because children are punished for the sins of
their fathers. This is because Christians of those days believed that
for the souls of Jews and non-christians, there is no salvation.
(ii) According to Launcelot, Lorenzo is to be blamed for the conversion
of Jessica because by converting her, he has added one more member
to the community of Christians, who are already many. Besides, it
will raise the price of pork as one more pork-eater will be added
to the group of pork-eaters.
(iii) Jessica’s becoming a Christian will increase the number of porkeaters and thus, will affect the price of the pork.
(iv) Conflict of religions is highlighted in this scene. Christians of those
days believed that non-Christians and Jews will be damned. Since
Act III Scene 5
49
Jessica is the daughter of Shylock, she will be damned. However,
Jessica asserts her position referring to St. Paul, who said that the
unbelieving wife is sanctified by her husband who is a Christian.
(v) Earlier, Launcelot had said that Jessica will be damned due to the sins
of her father. He justifies this by referring to a passage in the Bible
(Exodus 20/5) which says that even children and children’s children
will be punished for the sins of their fathers. Jessica hopes to
escape damnation through her husband. That is, being converted
to Christianity by her husband she will be saved. This has also a
reference to Bible where St. Paul says that the unbelieving wife is
sanctified by the husband (1 Corintheans 7:14).
2. (i) Jessica uses these words — ‘Past all expressing’ which mean words
are not enough to express her admiration for Portia. Jessica suggests
that Bassanio should lead an upright life because he has such a
blessing in his wife, Portia. He has the joys of heaven here on earth.
If he does not value the joy while on earth, he does not deserve to
expect happiness in heaven.
(ii) Immediately after this extract praising Portia, Jessica says that if two
gods should enter into a contest and stake two earthly women as
prizes in the game, then if Portia were to be one of them, the other
woman would need some addition to her worth so as to make the
stake equal. Thus, Jessica states that there is no other woman like
Portia in this world. She is peerless.
(iii) Lorenzo tells Launcelot that he is trying to show his wisdom by
using words at every opportunity. He tells him to try to understand
a simple man, who speaks plan language.
(iv) In the context of serving dinner, Launcelot behaves like a refined
jester. Lorenzo asks Launcelot to go indoors and tell the servants to
get dinner ready and serve it. Launcelot misunderstands ‘prepare
for dinner’ as ‘prepare themselves for dinner’ and says that they
are ready and have good appetite. Further he takes ‘prepare dinner’
for ‘get dinner cooked’. Launcelot inverts the words take, meat and
bid. He tells Lorenzo that the table shall be ‘served’ meaning ‘laid’
and the meat shall be ‘covered’ meaning ‘served’. He says as for
their coming to dinner, it depends on their mood and fancy and he
cannot ‘bid’ them to do anything.
(v) When Bassanio saw the portrait of Portia, he said that it stands
nowhere to Portia’s real self. In this scene, the character of Launcelot
changes from that of an ignorant practical joker to that of a more
refined jester. He resembles, a court fool here. He theorises on the
consequences of Jessica’s turning a Christian. He further reveals his
skills in punning words so that even Lorenzo admits that the fool
has filled his mind with quite a stock of fine words ready for use.
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Act IV Scene 1
Context Questions
1. (i) This scene takes place in a court of justice in Venice. Before this
extract, the Duke has described the hard-hearted adversary as an
inhuman wretch without pity, totally lacking in mercy.
(ii) The rigorous course referred to in the extract is the demand for the
pound of flesh from Antonio’s body by Shylock, as the penalty for
the forfeiture of the bond. Since Shylock remains obstinate, Antonio
says that no lawful means can save him from his enemy.
(iii) (a) I shall suffer his cruelty and anger with patience.
(b) I am prepared to face his cruelty and anger with a calm spirit.
(iv) The extract shows the Duke’s annoyance with Shylock. He tells
Shylock that it is everyone’s opinion that Shylock intends to keep
up the show of severity and hatred until the last stage of the case.
Then he will relent and not only show kindness and pity but will
agree to abandon his claim and forego a portion of the original sum
borrowed by Antonio.
(v) At this juncture, Shylock is defiant and insistent on the penalty for
the forfeiture of the bond, i.e., a pound of Antonio’s flesh.
Antonio on the other hand, is resigned to his fate and is ready to
face calmly the consequences of the forfeiture. He believes that no
lawful means can save him from Shylock’s sinister intentions.
2. (i) The Duke expects Shylock to mitigate his stand towards forfeiture
after considering Antonio’s heavy losses that have come so thick
and fast. The Duke expects that Shylock will be moved by human
tenderness and sympathy.
(ii) ‘A moiety of the principal’ means a part of the principal. The Duke
requests to have mercy on Antonio since his losses have been so
heavy and have come so thick and fast upon him lately that they
have been enough to ruin a noble merchant. They are enough to
draw pity and sympathy for his condition from anyone.
(iii) (a) So accumulated on him. It refers to the many losses that befell
on Antonio so thick and fast.
(b) Who have never been taught the feelings of human kindness.
The Duke says that Antonio’s losses are enough to draw pity
and sympathy for his condition, from hearts as hard as brass
and as rough as stones and from uncultured Turks and Tartars,
who have never been taught the feelings of human kindness.
(iv) Turks and Tartars were certain Asiatic races which the Elizabethans
believed to be uncivilised. They were considered uncultured and
Act IV Scene 1
51
having no feelings of human kindness. They were considered to be
stubborn. The Duke says that even the Turks and Tartars, who have
never been schooled in acts of kindness and love, will feel pity and
sympathy for Antonio’s plight.
(v) Shylock refuses to have mercy on Antonio because his motive was
to inflict pain on his enemy, i.e., Antonio and to take revenge upon
him for the insults hurled upon him and his community by Antonio.
This shows that Shylock was a strong willed, inflexible man, whose
love for his race was so deep that nothing could prevent him from
his purpose.
3. (i) Shylock is answering the Duke’s suggestion that he expects a gentle
answer from him. Shylock says that he will not give an exact reason.
He goes on to state that he has undivided whims like other men. If
his house is infested with rats, he may spend ten thousand ducats
to have them poisoned. There are people who cannot tolerate the
sight of an open-mouthed roasted pig, sight of a cat or the stream
of a bag-pipe. In all these there is no definite reason for hating
these things. It is determined by a strong whim or mood, which
can overpower any reason.
(ii) (a) This means offending others, after being offended. Shylock speaks
of people behaving according to their whims. These people stoop
low by offending others and expressing their dislike.
(b) This means a deep-rooted hatred. This refers to Shylock’s deep
and definite dislike and hatred for Antonio.
(iii) Bassanio reacts to what Shylock says by calling him a hard-hearted
creature. He further says that his answer is no excuse for his merciless
actions.
(iv) If Antonio is shown mercy by the Duke against the wishes of Shylock,
it would be against the justice system of the state that allows rights
and privileges of trade to foreigners. Consequently, foreigners will
lose their confidence in the just and impartial administration of law
in Venice and this will adversely affect its trade and prosperity.
(v) The scene becomes quite tense when Shylock ignores all the attempts
to persuade him to give up his bond. He does not relent even when
Bassanio offers him ten times the amount for which Antonio is in
default. The scene attains the highest tension when Shylock becomes
ready with a knife and weighing scale to cut a pound of Antonio’s
flesh.
At the end, Shylock loses his case, when Portia reminds him that he
is entitled to take a pound of Antonio’s flesh but without shedding
a single drop of blood, which was impossible condition for Shylock
to fulfill.
4. (i) Just before the given extract an argument takes place between Bassanio
and Shylock. Bassanio asks Shylock whether a man is obliged to
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seek the death of everything he dislikes. In reply, Shylock wants to
know when a man hates a thing intensely, why should he not kill it
willingly. Bassanio further argues that a first offence does not arouse
so fierce a hatred. Shylock argues again with another question. He
asks Bassanio whether he would give a serpent a second chance to
sting him.
(ii) In the extract Antonio tells Bassanio that it is useless to plead with the
Jew to show mercy. He tells him if he is hoping to soften his heart,
he might as well stand on the sea-shore and ask the tide not to rise
so high as usual. Secondly, he may as well ask the wolf why he has
made the mother sheep to mourn for the lamb he has devoured.
(iii) (a) It means reduce its usual height, meaning to ask the ocean tides
not to rise.
(b) It means to sway their high top. It refers to the swaying of the
high tops of the pine trees on the mountains.
(iv) Shylock does not give a definite reason for his hatred for Antonio.
He goes on to state that he has individual whims like other men.
He says that these people have no well-grounded reason to offer as
to why they dislike various objects, like a gaping pig, a harmless
domestic cat and a bagpipe. Shylock says that he bears just such a
deep-rooted hatred and a definite dislike for Antonio.
(v) Shylock firmly refuses to accept any amount of money and insists
that he will only have his bond because the pound of flesh which
he is demanding from Antonio has been bought by him at a high
price and no legal authority in Venice can deny him his right.
He finally loses the bond and gets nothing, neither Antonio’s pound
of flesh nor the money offered by Bassanio. Instead he has to give
up his property, his daughter and his religion.
5. (i) In the first line of the extract ‘They’ refers to the slaves of the
Christians. The beds of these slaves are referred here. According to
Shylock, the slaves are treated as asses, dogs and mules and used
in mean servile tasks.
(ii) This means to give the slaves rich food to eat. This refers to Shylock’s
complaint that Christians don’t provide their slaves the rich food
they themselves take and treat them as they please since they are
their property.
(iii) Shylock says that the pound of flesh which he claims from Antonio
has been bought by him at a high price. As per the bond agreement,
at the forfeiture, Shylock is entitled to only a pound of Antonio’s
flesh. He will lose his three thousand ducats he had given.
(iv) Shylock thinks that since the pound of flesh has been bought by
him at a high price, it is his and therefore, insists on having it. He
demands justice from the Duke as per the bond agreement.
Act IV Scene 1
53
The given extract proves that Shylock is good at giving relevant
arguments to prove his case. He gives replies word by word to the
questions put forward by his enemies. When asked to give a noble
response on having mercy on Antonio, Shylock says that Christians
are no better. They treat their slaves as they treat their asses, dogs
and mules. He questions if Christians would allow their slaves to
intermarry in their families and allow them to have comfortable beds
and tasty food like them. He further argues that just as people have
no good reason whey cannot put up with a gaping pig, a harmless
domestic cat or a bagpipe, he has no reason to give for taking a
pound of Antonio’s flesh.
(v) Decrees of Venice guarantee equal rights and privileges to the citizens
and foreigners. If Shylock were refused justice, the justice system
of Venice would be exposed to disrepute and will adversely affect
the trade and prosperity of Venice.
6. (i) Bassanio tells Antonio not to lose hope and have courage. He is
ready to give his own flesh to greedy Shylock and his whole body
too, before he will allow him to lose one drop of Antonio’s blood
on his behalf.
(ii) Antonio says that he is like a sick sheep in the herd only fit to
be taken out from the herd for slaughter. He says that he is the
most fit or suitable person to die.
(iii) Epitaph is an inscription written on the tomb of a dead man. Antonio
talks about the epitaph now since he is sure that he has to die as
the Jew was determined to have his bond.
(iv) To save Antonio, Bassanio offers to pay Shylock six thousand ducats,
double the amount of money borrowed from Shylock.
(v) Nerissa, dressed as a lawyers’ clerk came to the scene immediately
after Antonio’s speech. She came to deliver a letter to the Duke from
Dr. Bellario of Padua.
7. (i) When Shylock insists that he wants only his bond and sharpens his
knife to cut off a pound of flesh from the man, who has failed to pay
the debt, Gratiano gets furious on seeing Shylock’s envious desire
to take revenge on Antonio and reacts violently to his remarks.
(ii) Pythagoras was a Greek philosopher and mathematician. He taught
the doctrine of the transmigration of souls. According to this theory,
the souls of after their death enter the bodies of men.
(iii) (a) waver in my faith: It means it makes me doubt my own religion
(Christianity). It means that Gratiano tends to believe Pythagoras’
Theory of Transmigration of souls.
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(b) the gallows did his fell soul fleet: It means that Shylock’s evil spirit
resided in a wolf and when that wolf was hanged for killing a
man, the soul of the wolf entered the body of his mother and
then entered Shylock’s body when he was still unborn.
(iv) Same as (iii) (b) above.
(v) It can be concluded that Shylock has the spirit of the wolf because
all his inclinations are wolf-like — he is greedy, bloodthirsty and
rapacious.
Shylock laughs at Gratiano’s outburst. He says that he is injuring
his lungs. He says it is a mere waste of breath unless, curses can
make his bond illegal. He sarcastically tells Gratiano to try to get
more wisdom or his understanding will soon be beyond the hope
of any improvement.
8. (i) The word ‘strained’ means forced. Portia tells that the very characteristic
of mercy is that there can be no compulsion in its exercise. It drops
as freely as the gentle rain from heaven on the earth below. It is
beyond the power of man and the law to compel a man to be
merciful. Mercy is a free voluntary action.
(ii) Portia says that mercy carries with it a two-fold power and a double
blessing. It benefits both the giver and the receiver. It is not an
attribute of weakness. She says its effect is the greatest and noblest
when exercised by the great and the powerful, though the law gives
them absolute power to enforce justice.
(iii) Sceptre is a rod which a king holds in his hand, symbolising his
royal power. The king’s sceptre is the outward symbol of his earthly
power. It gives him awful majesty and fills his subjects with dread
and fear of him.
(iv) (a) Portia says that mercy sheds upon a royal king a brighter lusture
than the crown he wears.
(b) Portia says that mercy is far above the earthly power of a king
symbolised by his sceptre.
(v) Portia says that if strict justice were to be meted out to all, no one
could enter heaven. We all pray to God for His mercy and that
the same prayer which we make to God, should teach us to show
mercy to others. Hence, Portia requests Shylock not to press for
bare justice in the case but to forego his legal rights and to reason
justice with mercy.
9. (i) ‘This bond is forfeit’ means that the agreement has been broken and
the penalty must be paid. Now the bond is forfeit since Antonio has
Act IV Scene 1
55
failed to pay back the three thousand ducats he had borrowed from
Shylock.
(ii) It means when it is paid according to the terms of the bond. It refers
to Portia’s suggestion to accept three times the money and tear the
agreement. Shylock says that the bond can be torn only when its
terms are carried out.
(iii) Shylock flatters Portia by calling her a worthy judge. He says that her
learned explanation and just decision shows that her knowledge of
law is very sound. Earlier, Shylock compared her to Daniel, a wise
Jewish prophet. He was a wise judge who saved a woman Susana
from wicked elders by cross-examining them separately. So, Shylock
is comparing Portia for her wisdom, with Daniel the prophet, for
she refuses to break the law on the ground that bad precedents will
be created in future.
(iv) When Portia offered him thrice the due amount for the first time,
Shylock told her that he has sworn an oath before God to have
nothing but the bond. He cannot commit a sin of breaking the oath
and not even for the whole wealth of Venice will he break his oath.
(v) Shylock was confident that no one could take away his right to
forfeiture due to the strict Venetian laws. Portia, the lawyer has
already stated that the law cannot be altered to save Antonio as it
would set forth bad precedents in the administration of justice.
From this extract, Shylock emerges as a firm man who cannot be
prevented from his purpose. His rejects Bassanio’s offer to repay ten
times the due amount as his motive is not to extract money but to
inflict pain on his enemy.
10. (i) Antonio is speaking these words to Bassanio. ‘Grieve not that I am
fallen to this for you’ — in these words, Antonio asks Bassanio not
to worry that this fate has befallen on him for Bassanio’s sake.
(ii) The normal custom of the Fortune is to allow a man in misfortune
to live to see with his hollow eyes and wrinkled face, the ruin
which has come upon him and to endure an old age of hardships
and sufferings. ‘Lingering penance‘ refers to prolonged suffering of
witnessing one’s own ruin and experiencing misery.
(iii) Antonio thinks that ‘Fortune’ is kind to him by mercifully letting him
escape a prolonged suffering of his misfortune by an early death.
(iv) Antonio requests Bassanio to convey his greetings to his noble wife
and to tell her the manner of Antonio’s death. He also tells Bassanio
to tell her of his true and faithful friendship for him and to speak
well of him after his death.
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(v) Bassanio must not regret that Antonio has to face misfortune because
of him. Antonio will not regret that he is making the sacrifice for
Bassanio’s sake. He is willing to pay the penalty freely and with all
his heart.
Bassanio is ready to sacrifice everything he has to save Antonio from
the evil designs of Shylock. This offer reflects Bassanio’s deep love
and friendship for Antonio.
11. (i) Just before the given extract, Portia interprets the law to Shylock.
She says that the bond allows Shylock only the right to cut a pound
of Antonio’s flesh. It does not permit him to shed any blood while
cutting off the flesh. However, in the process of cutting if he sheds
a drop of blood of a citizen, all his wealth and possessions will be
forfeited to the government, according to the law.
(ii) Portia tells Shylock that he will get justice as he pleads so insistently for
it. But it may be that the justice will be stricter than what he wishes for.
(iii) Gratiano is happy as the tide has changed. He taunts Shylock and
throws back at him his words in praise of Portia’s wisdom. He calls
Portia a most honourable judge. Gratiano tells Shylock to notice that
Portia is the most wise judge.
(iv) Portia stops Bassanio from giving the money to Shylock. She states
that Shylock shall have the justice he has asked for to the fullest
extent. She asks Bassanio not to be in such a hurry. Shylock can
have nothing now, but the bond.
(v) The loophole in the bond highlighted by Portia is that the bond
allows Shylock only the right to cut a pound of Antonio’s flesh. It
does not permit him to shed any blood while cutting off the flesh.
At the end of the scene, Shylock’s emotions changed from that of a
self-confident and rigid man to a shattered man, who is forced to
give up his property and renounce his religion.
12. (i) ‘Pardon’ referred to here is the Duke’s granting Shylock his life. The
pardon is granted under the condition that half of his riches will
now belong to Antonio, the merchant he plotted against. The other
half would go to the state, but if he repents and humbly begs for
mercy, the state may just impose a fine instead of taking the full
amount. The Duke decrees that Shylock must abide by the conditions
put forward by Antonio; otherwise he will withdraw the forgiveness
he has extended to him.
(ii) The two conditions Antonio imposed on Shylock are: first, he draws
up a will leaving half of his wealth, to Lorenzo and Jessica after his
death. Second, that he becomes a Christian.
Act IV Scene 1
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(iii) The Duke appears in this scene as a just and kind administrator of
justice. Initially, he persuades Shylock to have pity on Antonio for
his (Antonio’s) heavy business losses. When Shylock insists on the
penalty for the forfeiture of the bond, the Duke follows the course
of justice. When Portia points out the penalty for conspiring against
a citizen of Venice, he pardons Shylock and grants him his life.
(iv) If Gratiano were the judge, he would have constituted a jury of twelve
people, who would sentence Shylock to death and will have him hanged
on the gallows. Gratiano here creates some comic effects with his
sharp-witted statements. He says that when Shylock is baptised,
he will have two godfathers. Further, he says that instead of the
baptismal font, he would have reached him to the gallows.
(v) Shylock is a frustrated man at this stage. All his hopes of taking
revenge on Antonio have failed. He begs to be allowed to go home
since he is not well. We feel pity for Shylock as he makes a sad exit
with the crowd ridiculing him at the door of the court. At the same
time, we feel happy that his evil designs did not succeed.
13. (i) Portia says that one who is well pleased with one’s work is sufficiently
rewarded. She is well-pleased that she has saved them from the
clutches of Shylock and considers this as a sufficient reward. Bassanio
insists that Portia should take something as a gift or a token of their
gratitude. He tells her to grant him two favours, first not to refuse
his request and second to forgive his persistence.
(ii) Portia asks Bassanio the ring he is wearing as a token of gratitude.
(iii) Bassanio is unwilling to part with the ring. He says that it is a
shame to give the ring as it is far from being valuable. He cannot
really think of allowing her to accept such a paltry gift.
(iv) Bassanio was hesitant to comply to Portia’s request of giving her the
ring he was wearing because it was a gift from his wife. Further,
his wife had made him swear never to part with the ring. He offers
to give Portia the most valuable ring available in Venice.
(v) Portia remarks that many men who do not wish to give a present,
give such a reason. She adds that if his wife is a sensible person
and understands what Portia has done to earn the ring, she will
soon relent and will not be angry for long with him.
Antonio tells Bassanio that he should let Portia have the ring. He tells
him that the promise he made to his wife should be outweighed on
this occasion by Portia’s merits and the love he bears for Antonio.
Hence, Bassanio changes his mind and parts with the ring.
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Act IV Scene 2
Context Questions
1. (i) The deed referred to in the extract is the legal document prepared
by Portia. The contents of the deed are that Shylock’s property will
go to Lorenzo and Jessica after Shylock’s death. Lorenzo will be
happy with this deed as it is beneficial to him and Jessica.
(ii) (a) Find out the house of Shylock. Portia asks Nerissa to ask someone
to direct her to Shylock’s house.
(b) I am glad to have overtaken you.
(iii) Portia is going to Belmont that night. She should reach home before
her husband so that he may not doubt her absence from Belmont. She
was away from home under the pretext of going to a monastery to do
religious exercises and meditation till the arrival of their husbands.
(iv) In Act V Scene 1, the comedy occurs due to Bassanio having given
the ring to the lawyer. Portia accuses Bassanio for this saying if he
knew the special qualities of the ring, the virtue of the one who
gave the ring and his honour in keeping vows, he should not have
parted with it. He defends himself saying that he parted with it
reluctantly and gave it to the lawyer, who saved Antonio’s life.
(v) Portia and Nerissa, after their wedding, give rings to their husbands,
Bassanio and Gratiano respectively, as a token of their love and
take a promise from them to never part with it. However, after the
Trial scene, Portia and Nerissa trick their husbands into giving them
the rings. They pretend to be offended and blame their husbands
for faithlessness. It is only when Portia reveals her and Nerissa’s
identity and shows the rings, the lovers are united again and there
is merriment and joy. Thus, the ring episode becomes a part of the
love episode.
The ring episode adds humour in the play in the manner in which
Portia and Nerissa disguised as a lawyer and her assistant, respectively,
manage to trick their husbands into giving them their rings. Portia’s
indulgence in playful jesting over the ring provides comic relief and
adds humour in the play.
Act IV Scene 2
59
2. (i) By saying ‘That cannot be’, Portia is referring to Bassanio’s request
to her to have dinner with him. Portia tells Gratiano that it is not
possible for her to accept Bassanio’s request to come for dinner. She
says so because she is in the disguise of a lawyer and did not want
Bassanio to know her identity at this stage. Secondly, she wants to
return to Belmont before the arrival of her husband.
(ii) The ‘youth’ referred to here is Nerissa. The youth should be shown
Shylock’s house so that she could give the draft deed to Shylock for
his signature.
(iii) Nerissa is planning to get the ring from Gratiano. Portia says that
their husbands will keep swearing that they have given the rings
to men as a gift but Portia and Nerissa will contradict them and
swear just as vehemently that they are deceiving them. This incident
provides a comic effect in the play in Act V Scene 1. Both Nerissa
and Portia accuse their husbands for parting with their rings. But
Bassanio and Gratiano swear that they have given the rings to boys
and that too to express their gratitude to them for their services in
saving Antonio from Shylock. They swear never to part with the
rings again. The ring-episode provides comic relief after the serious
trial scene.
(iv) Act IV of the play ends with Nerissa and Gratiano going in search of
Shylock’s house to get the deed signed from him and with Nerissa’s
plans to get the ring from Gratiano.
(v) Portia’s leadership quality comes forth the best in Act IV. She disguises
herself as a lawyer and pleads for Antonio in the court, to save
him from the clutches of Shylock. At first, she appeals to Shylock
for mercy. But when Shylock remains unmoved, she appeals to his
greed. When this also does not work, she asks Shylock to go ahead
with the bond and cut Antonio’s pound of flesh. But she finally
changes the direction of the case by stating that the bond does not
allow Shylock to shed a single drop of blood in the process of taking
the flesh. Portia by her superb leadership quality, saves Antonio
from Shylock’s bond, ensures the happiness of Bassanio and herself
and secures the future of Lorenzo and Jessica by getting Shylock’s
property for Jessica. Finally, she manages to get Bassanio’s ring as
a gratitude for saving Antonio.
Portia’s act of getting Bassanio’s ring prepare the audience for the
ring episode and the final resolution of the play in Act V.
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Act V Scene 1
Context Questions
1. (i) The theme of love is being discussed in the extract.
(ii) Thisbe was a beautiful maiden of Babylonia who was in love with
Pyramus, who also belonged to the same place. The words ‘fearfully
o’ertrip the dew’ means that Thisbe, with a heart throbbing with
fear, came daintly, stepping over the dewy grass.
(iii) Thisbe and Pyramus lived in adjoining houses but their parents would
not let them marry. They managed to talk to each other through a
hole in the garden wall. One moonlit night they arranged to meet
secretly at a tomb in a forest outside the city. Thisbe arrived first,
but hearing the roar of a lion she ran away in terror, leaving behind
her mantle. The lion seized the mantle, tore it and stained it with
blood of an ox it had killed. Pyramus came later. Seeing the stained
mantle he concluded that Thisbe had been devoured by the lion and
stabbed himself. Later when Thisbe returned to the tomb she saw
the dead body of Pyramus and killed herself. They are symbols of
faithful love.
(iv) Dido was the queen of Carthage and the foundress of the city.
After the Trojan War, the ship of Aeneas, a Trojan prince came to
Carthage and was entertained by Dido. She fell in love with him.
But the gods wanted Aeneas to go to Italy. Aeneas cruelly deserted
her and set sail secretly at night. Dido heart broken, lit a funeral fire
and died in its flames. Her anxious wait for Aeneas is symbolised
by her standing with a willow in hand.
Willow and the wild sea banks are emblems of forsaken love. Queen
Dido stood on the wild sea-shore, carrying in her hand a willowwand, the emblem of foresaken love, waving to her lover Aeneas
in the ship, vainly appealing to him to return to her.
(v) The stories of Thisbe and Dido are given in the context to heighten
the theme of love. While Thisbe’s story tells of faithful lovers, Dido’s
story speaks of foresaken love. Jessica refers to Thisbe’s story and
refers to her faithful love for Lorenzo. Dido’s story is narrated by
Lorenzo to taunt her at the fate of Dido. Constancy of the love of
Lorenzo and Jessica is highlighted in the scene.
2. (i) Jessica stole money and jewels from the wealthy Jew.
(ii) Jessica and Lorenzo took all precautions to ensure that she could
escape from her father’s house undetected. Lorenzo dressed in
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61
costumes and wearing a mask came to take Jessica as a part of a
masquerade. Jessica dressed herself as a boy and they eloped in a
moon-lit night when Shylock was away at Bassanio’s house for dinner.
(iii) Jessica’s father reacted violently at Jessica’s escape. He was angry
at his daughter for eloping with a Christian and taking away with
her, his money and jewels. He wished to see her dead and lying in
a coffin with his ducats and jewels in it.
Just before her elopement Jessica feels ashamed of herself for her
masculine disguise and for stealing her father’s money and jewellery.
(iv) Lorenzo saw the masquerade, he and his friends have planned as an
opportunity for eloping with Jessica. He decided that Jessica disguised
as a page would be his torch-bearer in the masque. When Jessica
felt embarrassed in a page-boy’s dress, he satisfied her by saying
that she looked charming even in the disguise of a boy and finally
took her with him.
(v) Venice stands for a busy life, full of problems, businesses and
hardships while Belmont stands for peace, love and tranquility.
Elopement of Lorenzo and Jessica from Venice to Belmont means
they have freed themselves from the destructive facts of life at Venice
and have come to Belmont, where there is peace and tranquility and
that nurtures their love.
3. (i) The given scene takes place in the garden in front of Portia’s house
in Belmont. Stephano is a servant of Portia. He brings the message
that Lady Portia will arrive at Belmont before day-break.
(ii) According to Stephano, during her absence from home his mistress
was visiting the roadside shrines with holy crosses. She knelt and
offered prayers at these holy places for blessings in her wedded life.
(iii) In reality, during her absence from home she went to Venice disguised
as a Doctor of Law, and successfully argued for Antonio in his
bond-forfeiture case and saved him from the evil designs of Shylock.
Nerissa accompanied her mistress as the lawyer’s clerk.
(iv) In the company of her mistress, Portia’s maid, Nerissa played the
role of a lawyer’s clerk. Once the deed document was made, Portia’s
maid went to Shylock’s house for his signature on the document.
(v) Jessica-Lorenzo romance is linked to the love story of Portia and
Bassanio. Lorenzo is Bassanio’s friend and well wisher. Jessica is
Shylock’s daughter who finds life at her home hell. Bassanio’s dinner
party provides Jessica and Lorenzo an opportunity to elope. They
elope to Belmont and stay at Portia’s mansion during her absence.
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4. (i) Lorenzo speaks these words. He is in the garden in front of Portia’s
house in Belmont. He is speaking to Jessica.
(ii) Before the given extract the speaker has asked Stephano to arrange
for some music in the open air.
(iii) According to the speaker if animals hear music, they quickly come to
a standstill and keep on quietly listening and gazing with calm eyes.
Lorenzo says that a man who lacks music is capable of treachery,
intrigue and dishonesty. His spirit has no brighter feelings, and his
emotions are sordid and dark as hell. Such men cannot be trusted.
(iv) (a) patines of bright gold: glittering plates of bright gold.
(b) floor of heaven: Lorenzo describes the sky as the floor of heaven.
(v) Elizabethans believed that every orb, i.e., heavenly body or planet
produced, in its motion, a peculiar musical note and the combination
of all notes composed the harmony of the universe. The angels
are said to be listening to the music of stars. The souls of human
beings are immortal and they produce divine music. However, till
the human body is in its perishable form, we cannot hear the music
of the heavens.
5. (i) Orpheus was the son of the Muse Calliope. He was a famous poet
of Thrace. He was presented with a lyre by Apollo and instructed
by muses in its use. He enchanted with its music not only the wild
beasts, but also the trees and rocks upon Olympus. It is said that
he made trees, stones and streams move from place to place by the
power of his music.
(ii) (a) stratagems : intrigues
(b) spoils : destruction
(c) motion : movements.
(iii) Earlier Lorenzo had said that at the sound of trumpet, wild unbroken
horses, rushing madly over the plains with energy come to a standstill.
They remain quiet, listen and gaze calmly.
(iv) Lorenzo says that the man, who has no sense of music is capable
of treachery, intrigue and dishonesty. His spirit has no spark of
brighter feelings and he is lifeless like the world sleeping at night.
His emotions are sordid and as dark as hell. Such a man can never
be trusted.
(v) Erebus was the son of Chaos. His name signifies darkness. In classical
mythology it was considered also as the home of the dead, an area
of darkness near hell. Departed souls had to walk through this area
during their passage to Hades. Lorenzo says that a man, who does
not love music, has thoughts as dark as night and emotions as dark
as hell.
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6. (i) ‘A hoop of gold’ means a circlet of gold. ‘A paltry ring’ means a
ring of small value.
(ii) The speakers are talking about the ring Nerissa had given to Lorenzo
at the time of their marriage. *Gratiano describes the ring as a circlet
of gold, a mere worthless ring, with a rhyming inscription on it,
such as the manufacturers of knives engrave on their blades: ‘Love
me and leave me not’.
*Corrigendum: In question 6 (ii) instead of Bassanio read Gratiano and the
question as — What information does Gratiano give to describe the ring?
(iii) When he had got the ring from Nerissa, Gratiano had vowed that he
would never part with it during life and that after death it would be
buried in the grave with him. He gave the ring to the lawyer’s clerk.
(iv) The ring is with Nerissa. The ring is the cause of quarrel between
Gratiano and Nerissa as Gratiano is not aware that Nerissa herself
was the lawyer’s clerk, whom he gave the ring. She accuses Gratiano
of having given the ring to a woman and not to the young clerk.
(v) The ring episode is linked to the theme of love and loyalty.
Portia and Nerissa had given their husbands rings at the time of
their marriage which their husbands promised never to part with.
The ring episode gives them a fresh chance to further renew their
vows of love and loyalty. From this extract we can conclude that
Nerissa was very angry with Gratiano. She feels that Gratiano easily
parted with the ring. She felt that even if he did not care to keep
it for her sake, he should have kept it for the sake of not breaking
his earnest vow not to part with the ring during his life.
7. (i) Portia is speaking about the ring she had given to Bassanio at the
time of their marriage.
(ii) Bassanio had given away the ring to the lawyer who saved Antonio
from Shylock’s clutches and would accept no other gift except the
ring. Portia says that if Bassanio knew the special qualities of the
ring, if he knew half the virtues of the woman who gave it to him
and if he had considered how he was honour bound to keep it as
he had vowed, Bassanio would not have given away the ring.
(iii) Bassanio gave away the ring very reluctantly when the lawyer insisted
on having the ring as a gift. Initially, Bassanio said that it was of not
much value and would give him the best ring available in Venice.
Later he revealed that it was his wife’s gift and had promised her
never to part with it. After the exit of the lawyer, upon Antonio’s
advice, he finally parted with the ring.
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The Merchant of Venice – Handbook
(iv) Instead of the ring, Bassanio offered to give the lawyer the most
valuable ring in Venice as a present.
(v) Gratiano too had given away his ring. He had given the ring to the
lawyer’s clerk. The lawyer’s clerk insisted on getting the ring as a gift
for his services in saving Antonio from the clutches of Shylock. The
clerk’s insistence on having the ring made Gratiano to part with it.
8. (i) Portia has saved the life of Antonio in the trial in which Shylock
insisted on having the pound of Antonio’s flesh as penalty for
forfeiture of the bond. By arguing that no drop of blood should be
shed nor any excess or less of flesh, to be cut off but only a pound
of flesh is to be cut, Portia cornered Shylock and saved Antonio’s
life. Through the deed of gift she gave half of Shylock’s wealth to
Antonio. Besides, she gave him the news of the safe arrival of three of
his ships. Thus, Portia gave him a new life and the means of living.
(ii) ‘Special deed of gift’ is the gift document drafted by Portia and
signed by Shylock. The deed of gift mentions that Shylock’s property
and wealth would be gifted to Lorenzo and Jessica after Shylock’s
death. ‘Without a fee’ means freely without any special charges for
the service.
(iii) The deed was made on Antonio’s request. The deed was made on
the condition that Shylock’s wealth will be given to Lorenzo and
Jessica after his death and Shylock will become a Christian.
(iv) The ring-episode creates an atmosphere of comedy as well as joy.
The comedy develops in the embarrassment of the husbands as they
try to account for the loss of their wedding rings. The arguments
and counter-arguments among the couples provide amusement to
the audience. Finally, the three pairs of lovers reunite. Antonio’s
ships return safely and the play ends happily with the triumph of
loyalty, romance and the defeat of greed and hatred.
(v) In the old Testament of the Bible, the Jews are described as wandering
in the desert on their way from Egypt to the promised land. When
they were starving, God sent them divine food called ‘manna’
miraculously from heaven to feed them. This happened in answer to
Moses’ prayer to God. In this context, the gift deed was the manna.
Lorenzo means that just as the heavenly manna was welcome to the
Jews so is this happy news of the deed signed by Shylock welcome
to Lorenzo, Jessica and Antonio.
mmm