MERCHANT OF VENICE WHOLE SUMMARY

How It All Goes Down

The Merchant of Venice opens on a street in Venice, where Antonio, a Venetian merchant, complains of a sadness he can't quite explain. His friends suggest
they'd be sad too if they had as much merchandise to worry about as Antonio. Apparently all of his money is tied up in various sea ventures to exotic locales. But
Antonio is certain it's not money that's bothering him. Antonio's friend Bassanio enters the scene, and we learn that Bassanio has been at the forefront of Antonio's
mind. Apparently Bassanio just got back from a secret trip to see an heiress named Portia in Belmont. Bassanio financed his trip (and in fact, his entire lifestyle) by
borrowing tons of money from Antonio. Portia is beautiful, intelligent, and, most important, rich. If Bassanio could only get together the appearance of some wealth,
he would be in a good position to compete with all the other guys vying for Portia's attention. If they marry, he's all set financially. Antonio would be happy to lend
Bassanio the money he needs to woo Portia, except, as we know, all of Antonio's money is at sea. The two friends part ways, agreeing that they'll try to raise the
funds on Antonio's credit around town.
Meanwhile, even rich heiresses have their troubles. Portia is plagued by suitors from the four corners of the earth but isn't allowed to choose the one she wants.
Instead, her father, before his death, devised an unusual test. Three caskets one gold, one silver, and one lead are laid out before each suitor, and whoever
picks the right one gets the girl. Portia complains about all of the important men who come to see her, as there's something wrong with each of them. As Portia is
trying to figure out how to avoid marrying, Bassanio is trying to figure out how to marry her. He negotiates with the Jewish moneylender, Shylock, asking for 3,000
gold coins (ducats). Bassanio borrows the money on his friend Antonio's credit. Trouble is, Antonio is an anti-Semite (he is prejudiced against Jewish people) and
is offensive to Shylock whenever he has the chance. Slyly, Shylock says he'll try out Antonio's method of business by lending him the money interest-free. BUT,
this is on the condition that Antonio signs a bond promising that if the debt goes unpaid, Antonio will give Shylock a pound of his own flesh. This seems like a good
idea at the time, as Antonio is sure he'll have earned the money from his ships before Shylock's due date.
Before we have time to think about what a crazy idea it is to promise anyone a pound of your flesh, we're back at Belmont learning the rules of the casket game.
Choose wrong, and not only do you fail to get Portia, but you cannot marry anyone for the rest of your life. We see suitors fail when they choose the wrong
caskets. Meanwhile, Jessica (Shylock's only child) tells us that living in Shylock's house is pure hell and that she's ashamed to be his daughter. She has decided
to elope with Lorenzo and convert to Christianity. Jessica gets her chance to carry out her rebellious scheme when her dad leaves the house to go to have dinner.
As soon as he is out the door, Jessica steals off with her lover, Lorenzo, and helps herself to a chunk of Dad's cash.
Bassanio and some of his pals set off for Belmont in hopes that Bassanio will snag the beautiful and rich Portia. We also learn from some gossipy cats in Venice
that Shylock was livid when he learned his daughter ran away, screaming "'My daughter! O my ducats! O my daughter! / Fled with a Christian! O my Christian
ducats!" (2.8.2). This is good news for Antonio, who hates Shylock. But Antonio doesn't stay happy for long, as he is too busy recovering from the fact that
Bassanio has gone off to woo Portia.
Back in gossipy Venice, we hear that Antonio's ships have been sinking left and right. Shylock shows up, still mad about his daughter's rebellion, but he's excited
to hear that he'll get to take a pound of flesh from his enemy Antonio. He explains to the gossipy men that he hates Antonio because Antonio hates him for being
Jewish. Shylock then gives a beautiful speech in defense of the humanity of Jews, including the well-known lines, "if you prick us, do we not bleed?" He concludes
that a Jew is not unlike a Christian, and a Christian in this situation would seek revenge. Therefore, he will do the same, because the Christians have taught him
hatred with their cruelty. Shylock is further angered to hear reports that his daughter is off lavishly spending his money, so he sets up arrangements to have
Antonio jailed, cut, and killed.

Back in Belmont, Portia is batting off the men. But she is truly excited by Bassanio. Bassanio impressively chooses the lead casket (correct) and wins Portia and
her wealth. Portia is falling all over herself with love for Bassanio when Lorenzo and Jessica arrive with news that Antonio is about to die at Shylock's command.
Portia offers to pay off Antonio's debt, and she and Bassanio have a quick (as in shotgun-quick) wedding before she sends Bassanio back to Venice with 20 times
the debt owed to Shylock. Portia gives Bassanio a ring and makes him promise never to take it off, which we're sure is going to be significant sometime soon.
Meanwhile, Portia has hatched a plan to cross-dress and pose as a lawyer to argue Antonio's defense at his trial. She tells Lorenzo to look after her house,
disguises herself and Nerissa as men, and sets off for Venice in a hurry. Also, Graziano randomly marries Nerissa.

The scene moves to the court in Venice. Everyone has tried to plead with Shylock, but he won't hear reason. He wants justice, and that means having a pound of
Antonio's flesh, as promised. It seems there's no hope until a young, effeminate-looking man shows up who happens to be a learned lawyer. He is called Balthazar
(a.k.a. Portia). Portia (as Balthazar) then begins to argue that Shylock should have mercy on Antonio, as mercy is a higher order good than justice. Shylock says
he doesn't need mercy, he's fine with just justice, thank you very much. There's no way anyone can get around it Antonio signed the bond, the Duke won't bend
the rules, and Shylock won't relent. Antonio doesn't care if he dies. Bassanio says he wishes he could trade his wife and his life for Antonio's, which does not
please his wife, but she doesn't say anything because she's disguised in drag.
Portia (as Balthazar) gets Antonio ready to go under the knife, but she stops just short as Shylock is sharpening his knife. She says the bond entitles Shylock to a
pound of flesh, but if he spills a drop of Christian blood, then he'll be guilty of plotting to murder a Venetian Christian, the penalty for which is losing everything he
has. Shylock says something like, "Fine, just give me the three-times-the-debt cash you offered me earlier," and Portia replies, "Actually, that offer's not on the
table anymore." Then he says, "OK, just give me the 3,000 back," and she returns, "Actually, that's not on the table either."
The slippery downward slope continues until Shylock declares that, fine, he'll just leave, and Portia stops him and says since he conspired to kill a Venetian he
actually has to forfeit everything he owns. And beg for his life.
Finally holding the upper hand, Antonio decides that as punishment, Shylock has to sign an agreement saying that when he dies, all his money will go to Jessica
and her new Christian husband. Also, Shylock must convert to Christianity. Shylock leaves a broken man. Portia grabs Nerissa and tries to get home before the
men return and find out their wives were the ones in court that day. Antonio and Bassanio try to get Balthazar to accept a gift before he goes, and though Portia
(as Balthazar) tries to refuse it, the men press her. She asks for Bassanio's ring (which is really her ring, symbolizing their marriage trust). Bassanio refuses to give
it to her, but then Antonio suggests he's whipped and foolish, so Bassanio caves in and gives Balthazar the ring at the last minute.
Finally everyone gets home to Belmont; the women have narrowly arrived before the men. Nerissa launches into a fight with Graziano about the missing ring (as it
turns out, she too gave a ring symbolizing marital fidelity), accusing him of giving it to a woman. Portia then lights into Bassanio for the same thing. Portia
complains about the men breaking faith for this lawyer guy, and she pledges to sleep with this learned man too, breaking her marriage vows like Bassanio did by
giving up her ring.
Antonio has come home to Belmont with them and he feels responsible for the fights. To make up for it he promises his soul as a guarantee that Bassanio will be
faithful to Portia. Portia accepts the offer of Antonio's soul and she gives him a ring to give to Bassanio. Turns out it's the original ring. Portia explains that she and
Nerissa were the young lawyer and the clerk who rescued Antonio from Shylock. Also, she's got a letter that says some of Antonio's ships have come home with
cash after all. The play ends with happiness for most of the characters in the play all except Shylock.

ACT 1 SCENE 1
Antonio (a Venetian merchant) is hanging out with his friends Salerio and Solanio on a street in Venice. Antonio is a sad bunny, though he claims he
doesn't know why.
Instead of trying to cheer him up, his friends Solanio and Salerio volunteer reasons why he might be depressed. They suggest that maybe he's worried
about all the big ventures he's financed at sea. His ships are out there with goods; if they make it back safely, he'll be rich but if they don't, he'll be in
trouble.
Antonio insists that his merchandise at sea is not the cause of his sadness. He's diversified his assets, so no single venture can make or break his
fortunes. Even if some ships fail, others are bound to make it. So he's covered or so he thinks.
Solanio isn't satisfied and suggests that Antonio might be in love. This sounds exciting, and of course we'd like to hear more, but Solanio's gossipy gab is
cut off by the entrance of yet more friends: Lorenzo, Graziano, and Bassanio, whom we learn is a great friend of Antonio. Salerio and Solanio hastily take
their leave, probably because they know Graziano is going to wax on for longer than they care to stick around.

Indeed here comes the waxing. Graziano has noticed that Antonio looks sad (what, is he wearing a sign?), and again elects not to cheer his friend.
Instead, Graziano notes that he'll always be merry, no matter the circumstances. He adds that some men who are quiet and sad-looking seem thoughtful,
but they're likely to be as foolish as anyone else; they're just hiding it well.
After making this long-winded point about short-winded people, Graziano exits with Lorenzo, leaving Bassanio and Antonio to talk. Antonio asks about
Bassanio's "secret pilgrimage" to see a lady. (Hmm. Could this be the cause of Antonio's sadness?)
Bassanio fills us in: he's been living well above his means for a while now, and it's finally come back to bite him in the nether-regions.
He explains to Antonio that it's to him that he owes the most love and money; therefore he is obligated to reveal a scheme he's concocted to get himself
out of debt. He waxes on about how sometimes you have to risk more to gain more. Finally Antonio cuts him off and says he doesn't need to justify
himself: Bassanio should know that Antonio will do anything for him. (Just think Brad Pitt and George Clooney in Ocean's Eleven.)
You're probably wondering what Bassanio's story has to do with the lady. Wonder no more. Bassanio has discovered a woman named Portia who has
come into a big inheritance in Belmont. She's good looking, but more importantly, she's rich. Lots of men have been trying win her hand, and Bassanio is
certain if he could only appear to be as rich or worthy as these other men, he could convince her to marry him. This would solve his debt problems nicely.
Antonio supports this scheme, but unfortunately all of his money is tied up in his sea ventures. Still, he tells Bassanio to try his hand at raising some
money around Venice on credit, using his (Antonio's) good name. Antonio adds that he, too, will work on raising some cash. Basically, even if it means
stretching his credit to the limit, he's willing to do whatever he can to get Bassanio all set up to woo Portia in Belmont.
ACT 1 SCENE 2
We now meet Portia at Belmont, who turns out to be more than a spoiled little rich girl. Portia complains to her woman in waiting (read: her sidekick),
Nerissa, that she's tired of the world. Nerissa points out that being rich doesn't exempt one from problems.
Portia retorts that it's easier to give advice than take it. Then she clues us in about why she's so bummed out. It turns out that Portia can neither
choose nor refuse a husband, but must instead follow her dead father's will.
Nerissa clears up exactly what was in this dead father's will. It seems that he set up a lottery to determine who Portia would marry. The lottery
involves three chests one gold, one silver, and one lead. Whoever chooses the correct chest gets Portia.
Nerissa is somehow convinced that whoever chooses rightly will truly love Portia, too.
Brain snack: Portia isn't the only Shakespeare heroine who doesn't get to choose her own husband. In The Taming of the Shrew, Baptista Minola
arranges his daughter's marriage to Petruchio. Although the elaborate lottery Portia's father has arranged is pretty unusual, it was typical for 16th
century dads to choose their daughters' husbands.
Nerissa thinks this whole lottery thing is a really good plan because Portia's father was virtuous guy. She adds that Portia's complaints about not
being able to choose a man are frivolous, and she asks whether Portia likes any of the suitors she's seen so far.
Portia asks Nerissa to list off each of the suitors so she can scorn them each individually. The Neapolitan prince talks only of his horse, which he can
shoe himself to his great pleasure. Portia suggests that his mother must have been unfaithful with a smith who shoed horses. Count Palatine is too
gloomy, and the French lord, Monsieur Le Bon, has too many personalities for Portia to deride each of them.
Nerissa continues to list suitors: Falconbridge, the young English baron, doesn't speak any languages that Portia understands; he lacks Latin, French
and Italian, and Portia herself isn't too hot in the English-speaking department. (Yeah, Shakespeare is cracking a little joke here, since his play is
written in English.)
Portia quips that the young English baron has no proper manners, and even worse, dresses in a hodgepodge of clothes from other countries.
Portia then rags on the Scottish lord, another of the suitors. She says the best she can say of the Scot is that he took a blow from (literally "was hit
by") the Englishman, and very kindly offered to pay it back with the support of the Frenchman. (This is Shakespeare's way of poking fun of the French,
who were always promising to help the Scottish fight against the English.)
Finally, Portia rails on a German, nephew of the Duke of Saxony. She doesn't like him when he's sober, but she especially doesn't like him when he's
drunk, which is every afternoon.
Nerissa teases that Portia will have to go through with her father's will and marry the drunk German if he picks the right casket.
Regardless, Nerissa promises she isn't worried for Portia; each of the suitors have told her that they intend to leave soon enough, unless some other
means of winning Portia's hand (besides the lottery) should arise. It seems there is some "imposition," or cost, to choosing the wrong casket that the
suitors would rather not risk.
Portia insists she'll accept no man except as dictated by her father's will.

Still, there is one man, Nerissa points out, who wasn't all that bad. Bassanio, a scholar and a soldier who once visited Portia's court, seemed like the
marrying type.
A servant then enters announcing that the suitors are leaving. Score. As the four of them leave, a fifth, the Prince of Morocco, is on his way in, and
Portia makes a nasty remark about him. Because he's black like "a devil," Portia says she doesn't care if he's a saint there's no way she wants to
marry him.
History Snack: In Shakespeare's England, black skin was often associated with the devil. This racist concept emerges in other plays, like Othello and
Titus Andronicus. Here's an example: in a famous book called The Discovery of Witchcraft (1584) Reginald Scott wrote, "A damned soule may and
dooth take the shape of a black moore [...] Bodin alloweth the divell the shape of a blacke moore, and he saith he used to appear to Mawd Cruse, Kate
Darey, and Jone Harviller."
Portia readies Nerissa to greet the Moroccan prince and complains that as soon as one suitor leaves, another follows quickly to take his place. Life is
so hard.

ACT 1 SCENE 3
Back on the mean streets of Venice, Bassanio wheels and deals with Shylock, a Jewish merchant. Bassanio wants 3,000 ducats, or gold coins, on
Antonio's credit, with the stipulation that he'll pay them back in three months. Shylock notes that Antonio is likely good for the money, but still, all the
man's cash is tied up in potential ventures none of it actually exists yet.
Shylock gives us a brief look into Antonio's diverse financial portfolio: he's got a ship bound to Tripoli and another to the Indies. In the marketplace,
Shylock has heard of even more ships backed by Antonio: a third for Mexico, a fourth for England, and several others.
Though all this sailing about seems rather risky, Shylock says he'll lend the money, but would like to speak to Antonio first. Willing to comply,
Bassanio invites him to dinner with himself and Antonio. But Shylock isn't having any of it, as it will likely be a Christian dinner with pork, which is a big
no-no for Jews.
Shylock also says he's not hot about the idea of hanging out with Christians. He says he'll trade with Christians, talk and walk with Christians, but he
has to draw a line somewhere, and he's drawn it at eating, drinking and praying with them.
Antonio then enters the scene. Shylock has a nasty little aside (that's when a character says something only the audience can hear) during which
Shylock admits that he hates Antonio "for he is a Christian." More than anything else, however, Shylock says he hates Antonio for what he does in the
marketplace. Antonio lends out money free of interest, which is unfair competition for the lenders who aren't willing to do so.
We interrupt this program for a history snack about the Elizabethan attitude toward money lending. The Church believed that interest should never be
charged when one Christian loaned money to another Christian. The idea comes from Deuteronomy 23:19-23: "You shall not lend upon interest to
your brother, interest on money, interest on victuals, interest on anything that is lent for interest. To a foreigner, you may lend upon interest, but to
your brother, you shall not lend upon interest." Christians were allowed, however, to borrow money (with interest) from foreigners. Since Jews were
classified as "foreigners" in England, they were encouraged to set up banks when they arrived in England.
Now back to the play.
Shylock says he'd like to catch Antonio at a disadvantage so he can get even with him not only for undercutting him in trade, but also for the nasty
things Antonio has said about Shylock.
Shylock talks money with Antonio and Bassanio. He says he can lend the 3,000 ducats; though he doesn't have that sum on hand, he can borrow
some from his fellow Jewish friend Tubal. Thus he can meet Bassanio's need for the aforementioned three months. Antonio, who until now has
avoided borrowing or lending where interest is involved, justifies his change of heart by stating he'll do anything to help Bassanio even join the
interest game he's so often scorned.
Shylock doesn't drop Antonio's seeming hypocrisy so easily. He points out that Antonio is always saying he doesn't believe in charging or paying
interest.
Shylock then tells a little story taken from the Bible (Genesis 30:25-43, to be exact) about Jacob's dealings with his Uncle Laban. Jacob was caretaker
of his uncle's sheep, and when it came time for mating season, Laban agreed that all the baby lambs with spots would belong to Jacob. When the
sheep were ready to mate, Jacob showed them sticks or branches that were spotted, which caused the ewes to have spotted baby sheep. All the
spotted sheep were Jacob's, as promised.
Shylock says this is evidence that it isn't a sin to be thrifty in fact, profit is a blessed thing, so long as you don't steal to get it. (Check out our
discussion of "Symbols" if you want to know more about this.)

Antonio insists the spotted-sheep outcome was more about the will of heaven than Jacob's crafty thrift. He mocks Shylock's attempts to use the Bible
as justification for charging interest, and ultimately tells Bassanio that all he's learned from this experience is that even the "devil" can cite Scripture to
his purposes.
While Antonio has been ranting, Shylock has been busy calculating the interest on the sum he's about to lend. However, hearing Antonio's last
remark, he is quickly incited to anger (and to pay attention to further remarks).
Shylock points out that in the Rialto (the commercial and business exchange of Venice), Antonio has spit on him, called him a dog, and insulted him
publicly for his practice of lending with interest. (Dang. Is this why Shylock says he hates Antonio for being a Christian?)
Shylock asks if he's supposed to just forget about Antonio's abuse now that the guy needs some extra cash and wants to borrow money.
Antonio doesn't defend himself against these nasty charges. He admits it's true he spat and cursed at Shylock. In fact, he'll probably do it again. He
says that Shylock's loan isn't a loan between friends there doesn't need to be any amity between them. This is just a business transaction, so if he
(Antonio) breaks the deal, he'll accept responsibility for it and pay the penalty.
After Antonio's mini-flip-out, Shylock's all, "Take it easy, amigo. We can be friends, and I'll forget all those times you were a rotten jerk. I'll lend you
what you're asking for, and better still, I won't charge you an extra cent in interest. I'll even play a fun game with you, where we both go to the notary
right now and sign a document saying that if you don't pay me what you owe on such and such a date, in such and such a place, then I can have a
pound of flesh off your body from wherever I choose."
(Hmm. Shylock insists this is all for "merry sport," but is it? Check out "Symbols" for more about this "pound of flesh" talk.)
Antonio thinks this is a good idea.
In spite of Bassanio's insistence that it isn't really necessary for Antonio to risk his flesh, Antonio is confident. He thinks he'll have the money in two
months, a whole month before the debt is even due.
Shylock also does a good job of easing Bassanio's fear he asks what on earth he could gain by having a pound of Antonio's flesh. Clearly, Shylock
says, he's only adding the "pound of flesh" caveat for funzies.
This being said, the men agree to meet at the notary. Shylock will hand over the money. Antonio notes, "The Hebrew will turn Christian, he grows
kind." But Bassanio still thinks there's something wicked going on in his mind, they're accepting a deal from a crooked guy, which is never a good
idea, especially in Venice.
ACT 2 SCENE 1
Portia is still at Belmont having a chat with the Prince of Morocco. He says that though his skin is darker, his blood is as red and his love as true as
any pale northern guy. Still, the Prince says he wouldn't change his skin color except to change Portia's thoughts about him.
Portia, feeling magnanimous, says it isn't up to her, but if it were, the Prince would stand in her affections just like any of the other suitors (which isn't
exactly a compliment given how she feels about them).
The Prince says he's very fierce, and lists off all the things he's killed. Though the Prince says he's willing to steal a baby bear from its mama bear (a
very manly thing to do, apparently), all of his bravado doesn't matter. Rules are rules, and he can only win Portia through chance.
The Prince comments that in a game of dice, even Hercules could be beaten by his servant. Luck doesn't favor anybody, no matter how worthy he is.
Still, he wants to take the chance to win Portia.
Finally Portia reveals what her father's "imposition," or condition, was. If a suitor decides to play the lottery of chests and chooses the wrong one, not
only does he lose a chance at Portia, he must never talk of marriage to another woman again. Hearing this, the Prince insists on playing the lottery
anyway, and Portia insists on having dinner.
ACT 2 SCENE 2
Lancelot Gobbo, Shylock's servant, stands before Shylock's house, having a very serious and hilariously muddled conversation with himself about his
desire to quit his job. He says his conscience tells him to stay with Shylock out of loyalty, but some fiend in his brain is telling him he should run away.
He reasons crookedly: since his conscience tells him to stay with the devil incarnate, clearly the thing to do is run away, loyalty be damned.
Just then Old Gobbo Lancelot's dad, who is mostly blind shows up looking for his son. He can't tell that he's talking to his son, in front of Shylock's
house.
Lancelot decides to have some fun with his father before he reveals his identity. He teases that the old man should speak of "Master" Lancelot, not
just Lancelot. Old Gobbo is quick to point out that young Gobbo is no Master Lancelot, but just plain old Lancelot, the son of a poor man.
Lancelot continues to mess with the poor old blind man, telling him the "funny" joke that his son is dead.

Lancelot finally reveals himself to be Old Gobbo's son, and there's much ado about how much he's grown. Old Gobbo has brought Shylock a present,
and Lancelot suggests his dad give the present to Bassanio instead, as Bassanio is Lancelot's new chosen master. Being Shylock's servant has left
him in such a state that you can count each of his ribs (i.e., he's not paid enough to eat properly).
Bassanio enters the scene and hears a convoluted attempt on the part of both Lancelot and his father to get the younger man employed by Bassanio.
Bassanio cuts off all the idiocy by announcing that Shylock's already given over Lancelot's service to him, though Lancelot will be leaving a rich Jew to
serve a poor gentleman. Lancelot insists he's OK with this, and Bassanio sends Old Gobbo off with young Gobbo to buy some fancy new threads.
Bassanio is then left to talk with the newly arrived Graziano. Graziano insists that Bassanio must take him along to Belmont when he goes to woo
Portia. Bassanio is hesitant.
Graziano promises he'll be on his very best behavior and won't do anything to ruin Bassanio's chance of winning Portia. Then they agree to put off all
good behavior until tomorrow, as tonight is a night for celebration.
ACT 2 SCENE 3
At Shylock's house, Jessica, who is his rebellious daughter, laments Lancelot's impending departure. Living in Shylock's house is apparently
miserable, and Lancelot was always a good distraction from the surrounding misery. Giving him a gold coin, she instructs Lancelot to take a letter to
Lorenzo, who should be at Bassanio's house for dinner.
Lancelot, all tears, calls Jessica a "sweet Jew" (a compliment, apparently) and then informs the audience that her heart has been stolen by a Christian.
Despite being a rebellious daughter, Jessica at least feels guilty about the fact that she is ashamed of being Shylock's daughter.
Still, Jessica declares that, even though she shares her father's blood, she's nothing like him. Jessica hopes to put an end to all her troubles by
becoming Lorenzo's wife and converting to Christianity.
ACT 2 SCENE 4
Lorenzo, Graziano, Solanio and Salerio all meet at a street in Venice to discuss a plot they've concocted that is not quite ready to be carried out.
Lorenzo suggests that they slip away during dinnertime and disguise themselves, but Salerio points out that they don't have torchbearers (guys to
carry their lights), and Solanio thinks the whole thing is a waste of time unless it's really carefully organized.
Just then, Lancelot (young Gobbo) enters with Jessica's letter, which Lorenzo is excited to receive.
Hearing that Lancelot is planning to invite Shylock to dine with Bassanio, Lorenzo tells Lancelot to secretly deliver a letter to Jessica. After Lancelot is
gone, Lorenzo cryptically announces that he's found a torchbearer after all. (Don't worry. This little secret will be revealed.)
So Lorenzo instructs everyone to meet up at Graziano's house later that evening. He is then left alone with Graziano to unfold the secret contents of
Jessica's letter, which says (essentially) the following: "Dear Sweetie, Please steal me away from my father's house, sooner rather than later. Oh, and
I've got some gold and manservants packed and ready to go."
Lorenzo declares that any harm the girl comes to will be because she is the child of a "faithless Jew" and for no other reason, especially not her being
a thief.
Lorenzo hands the letter to Graziano to read and announces that Jessica will be his torchbearer.
ACT 2 SCENE 5
In front of Shylock's house, Shylock chats with Lancelot, who's just brought him the dinner invitation from Bassanio.
Lancelot is a clown and a servant. Like all Shakespearean clown figures, Lancelot's job is to fool around, make smart-alecky comments, and bag on
all the other characters in the play.
Shylock says Lancelot will soon see the difference between being in his service and being in Bassanio's. He then roughly calls in Jessica and tells her
he's been invited to dinner. He says this isn't a friendly dinner invite but mere flattery. He's committed to feed upon his hatred of the Christians.
Shylock tells Jessica that she'll have to look after the house. He says he fears something bad is about to happen, since he dreamed about money
bags, supposedly a bad omen. Lancelot teases Shylock about his superstition, making up some silly omens of his own, but Shylock ignores him and
warns Jessica of some revels that will fill the street that night. She's not to put her head outside the window or otherwise let any foolish merriment seep
into his house. Shylock especially doesn't want any sounds of music coming through the windows, which you can read more about in "Symbols."
Shylock then heads off to dinner, though he says he'd rather not. As he leaves with Lancelot, the clown delivers a seemingly harmless little rhyme to
Jessica, telling her that a Christian (Lorenzo) will be worth looking out her window for later tonight. Shylock wonders what he said, but Jessica quickly
deflects his inquiry, leaving her father to wax on about how Lancelot's departure is no great loss, as he was lazy and slept too much anyway.

If anything, Shylock is grateful that Lancelot will assist Bassanio in wasting his borrowed cash. Again reminding Jessica to lock up the doors and stay
inside, Shylock exits.
Alone at Shylock's house, Jessica declares she will soon be rid of her father and he rid of a daughter.
ACT 2 SCENE 6
Graziano and Salerio wait outside Shylock's house for Lorenzo to show up. Graziano notes that he should be early, since he is moved by love, which
makes time run fast.
Graziano, ever a cynic, compares love to a banquet: you're famished when you first sit down at the table, but you're never hungry when you get up. In
other words, once lovers have had their "fill" of each other, their desire isn't as strong as it once was.
Graziano then quips that young men newly in love are like rich ships embarking on a new and exciting sea journey, but whose sails soon become
ragged when they're tossed around the ocean by violent winds. (Translation: Love is rough and things between Jessica and Lorenzo will probably end
badly.)
Lorenzo shows up just then, claiming it was his business that made him late. Then Lorenzo channels Romeo and calls up to his girl.
Lorenzo and Jessica exchange a few sweet (if a little sappy) words.
Jessica passes down a chest of money and says she's ashamed of being dressed like a boy.
Lorenzo says she looks hot in her disguise and tells her to come down and hold the lamp since she's supposed to pretend she's a hired torchbearer.
Jessica is all, "Hang on. Let me lock the door real quick and stuff some more of my dad's gold in my shirt."
Lorenzo takes her stalling as an opportunity to detail what he loves about her, namely her wisdom, beauty, and honesty. Jessica finally comes
downstairs and leaves with Lorenzo and Salerio.
Graziano is left behind, ever convenient for Antonio to stumble upon as he wanders in himself at that very moment, wondering where all of his buddies
have gone.
Antonio says everyone's been waiting for Graziano. They're all headed for Belmont so Bassanio can land himself a rich wife.
ACT 2 SCENE 7
At Portia's place in Belmont, we again find Portia with the Prince of Morocco. We finally get the details of her father's scheme for picking her suitor.
There are three chests, made of gold, silver and lead respectively, each with an inscription. The gold chest says, "Who chooseth me shall gain what
many men desire." The silver reads, "Who chooseth me shall get as much as he deserves." The lead casket reads, "Who chooseth me must give and
hazard all he hath." Inside one chest is a picture of Portia; if a suitor chooses (oh, sorry, if a suitor chooseth) the chest with the picture, he can have
the girl. Otherwise, he dies old and alone.
Now that he knows all the rules, the Prince of Morocco sets about choosing a chest. He goes over each of the inscriptions and reasons to himself.
The lead chest asks the man who chooses it to risk everything; the Prince decides he wouldn't risk everything, or anything really, for plain old lead.
Then he decides the silver chest has better promise, as it says he'll get what he deserves in choosing it. The Prince declares that he has to weigh
what he deserves carefully, and he determines that in birth, fortunes, grace, and stature, he deserves Portia. Oh, and because of how much he loves
her. He says he could be happy with the silver chest, but he checks out the gold one anyway, as it promises what many men desire. It seems all men
desire Portia, as they're coming from every corner of the earth to woo her.
It's time for the Prince to choose. He decides lead is too worthless, and silver is of less worth than gold, so gold is the only thing worthy enough to
hold Portia's picture.
When the Prince opens the golden casket, he finds a picture of a Death's head (a skull and crossbones) and a scroll beginning with the famous words,
"All that glisters [glitters] is not gold." Essentially, the chiding inscription is saying that what's golden outside isn't always golden inside, and the chooser
would've known that had he been as wise as he is bold. Thus the Prince is condemned to a life of solitude and takes his leave quickly and quietly.
Portia gladly lets him go.
ACT 2 SCENE 8
Salerio and Solanio are, yet again, hanging about the streets of Venice. They gossip about the latest news: Bassanio's ship has sailed with Graziano
but not Lorenzo. Shylock found his daughter had disappeared and raised the Duke of Venice from his sleep to find her. They didn't locate Jessica,
but the Duke did find out that she was last seen with Lorenzo in a gondola, filled with love (and Shylock's money).
Solanio reports that Shylock's reaction was strange he lamented his lost ducats intermittently with his lost daughter, both stolen by a Christian: "'My
daughter! O my ducats! O my daughter! Fled with a Christian! O my Christian ducats!" and so on.

He was mocked by all the boys in Venice, who trailed behind him crying of ducats and daughters. Solanio is sure Antonio will have to pay for this one
way or another, since Shylock is apparently prone to violent outbursts and will have to take it out on someone.
Speaking of Antonio, Salerio announces that he recently got some bad news from a Frenchman, who told of an Italian ship that was wrecked between
France and England. Salerio sure hopes it wasn't one of Antonio's ships. The men reason back and forth over whether they should tell Antonio the
potentially disastrous news.
Salerio credits Antonio with being one of the nicest guys on the block, and he tells of how he watched Antonio and Bassanio part as the latter was on
his way to Belmont. Antonio told Bassanio not to rush but to stay as long as he needed to win Portia. Aw. In the meantime, Antonio counseled
Bassanio not to worry about his (Antonio's) debt with Shylock. Instead, he should be happy and think of love and courtship.
Of course he says this all while weeping.
They set off to try and cheer Antonio up.
ACT 2 SCENE 9
At Portia's house in Belmont, yet another suitor, the Prince of Arragon, has come to try his hand at the casket game. Portia welcomes the man halfheartedly, and all are reminded that this particular recreation has some rules.
The Prince of Arragon lists the rules so we all know what's up: first, he can never tell anyone which casket he chose; second, if he picks the wrong
casket, he can never woo a woman in the way of marriage; and third, if he picks the wrong casket, he has to go away immediately. No sticking around
to cry about it and no stalking either!
The Prince then goes through a line of reasoning like the Prince of Morocco's. Arragon says the lead casket needs to be better looking before he'd risk
anything for it. Arragon then rules out the gold casket as something that would only appeal to those deceived into valuing appearances more than
actual value.
Arragon then hems and haws about the silver casket's inscription about getting what he deserves. He says if people were better at judging what was
deserved, some great men would be knocked down, and some poor men raised up. Still, he's weighed it and decided he deserves Portia so he
picks the silver casket.
He's wrong. There's a picture of a fool's head inside. Portia and Nerissa are, again, glad to see him go, but Portia then gets news from a messenger
about a man she'd like to see come.
Apparently, a man full of sweet manners has shown up in Belmont. He says he's here to announce that his lord, another Venetian, is soon to follow.
Until the lord gets there, however, the man brings his apologies, courtesies, and gifts of great value. The messenger who saw the guy (who we can
guess is Graziano) comments that the visiting Venetian is awfully sweet and generally makes a good showing in preparation for the lord who's on his
way. Portia teases the messenger for being full of such high praise, but she rushes Nerissa out to take a look at the man playing Cupid for the
Venetian gentleman. Nerissa hopes that the soon-to-arrive Venetian will be Bassanio, the guy she and Portia like more than any other.
ACT 3 SCENE 1
Solanio and Salerio meet again in the Venetian streets to gossip. Salerio sadly reports that the news of what is potentially Antonio's ship getting
wrecked in the narrow seas between England and France has yet to be denied. They lament that Antonio's fortunes are poor, but they're interrupted
by Shylock or, as they say, the devil in the "likeness of a Jew."
Solanio asks Shylock for gossip from the marketplace, but Shylock points out the gossip he brings is likely old news to those two: Jessica has run off.
Solanio and Salerio joke that it was about time she left the nest. As Shylock laments that his own flesh and blood has deserted him, the other two men
are less than sensitive. They say Jessica was no more like Shylock than white wine to red.
Talk turns to the fate of Antonio's ships, and Shylock whines about that too though it's unclear whether he's gleeful or upset. Either way, he keeps
reiterating that Antonio needs to "look to his bond," suggesting that he has no plans to be merciful if Antonio forfeits. Salerio scoffs that he's sure, in
the case of a forfeit, that Shylock wouldn't actually want a pound of Antonio's flesh. Right?
Shylock gives an illuminating speech on the nature of prejudice, though it's laced with vicious hatred and his desire for a pound of Antonio's flesh.
Shylock suggests he can use Antonio's flesh as fish bait, but the most important thing the human meat will feed is Shylock's hunger for revenge.
Shylock lists off the little and big cruelties to which Antonio has subjected him and points out that Antonio's reason for all this hatred is simply that
Shylock is a Jew.

He asks, in earnest, whether a Jew doesn't feel everything a Christian does, summed up by the masterful and immortalized line "If you prick us, do we
not bleed?"
Shylock's speech culminates in a note about revenge, just as it began. Jews, being wronged, will seek revenge just as Christians do. If anything,
Shylock has learned this example of revenge-taking from the Christians themselves. "The villainy you teach me, I will execute," he says.
(Psst. Check out Al Pacino's dramatic delivery of this speech in the 2004 film adaptation of the play.)
A servant then enters to announce that Antonio would like to speak to Solanio and Salerio. As those two leave to see Antonio, Tubal, a Jewish friend
of Shylock's, enters with his own news.
Tubal seems to have just returned from Genoa, where he was looking for Jessica. Shylock is distraught when he learns that Tubal kept hearing about
the girl but had no luck in actually finding her. However, we're not sympathetic towards Shylock for too long, as he immediately mourns not his
daughter but his money. (In her flight, Jessica has stolen two thousand ducats and a ton of precious jewels.)
Shylock wishes he could see his daughter again. Aw. Oh wait, actually, he wishes he could see her dead, laid out at his feet with all his wealth
around her, which he could promptly take back again. Further, he's really peeved that this search is costing him so much, on top of the actual loss
itself. Mostly, he's sad that he's getting nothing but trouble, that no one but he is feeling pain, and that his pain is everyone else's fault.
Tubal comforts him by essentially saying, "Don't worry, other people are leading miserable lives too."
Thankfully, Shylock doesn't feel bad for too long after he hears Tubal's news from Genoa about Antonio. Apparently, Antonio's Tripoli venture has
failed, and the man is practically ruined. Shylock profusely thanks God.
Tubal's joyous news about Antonio's failed venture (which he heard from some of the sailors who survived the wreck) is immediately tempered by bad
news. In Genoa, Tubal heard that Jessica had spent 80 ducats in one night. This is big money. Tubal wisely elects to change the subject and goes
back to talking about how many Venetians have come to him with the news that Antonio can't possibly pay back his debt and must break his bond with
Shylock.
It seems here that Shylock's anger and frustration at Jessica gets channeled into his already-hot hatred of Antonio. Glad for Antonio's misery, Shylock
promises to plague and torture the man. Tubal seems interested in feeding the flames of Shylock's anger, as he further adds that Jessica gave away
Shylock's turquoise ring (which seems to have been a gift from Shylock's absent wife) to a merchant in return for...a monkey.
But the good news for Shylock to fall back upon is Antonio's complete and utter ruin. Shylock sends Tubal off to get an officer of the law so they can
prepare for the rightful collection of Antonio's flesh at the forfeit. Shylock gloats that with Antonio out of the way, business will be better for him in
Venice. After all of this hateful, vengeful talk about material goods, Shylock tells Tubal to meet him later at the synagogue.
ACT 3 SCENE 2
At her house in Belmont, Portia pleads with Bassanio and reveals her preference for him. She asks him to hang out with her for a month or two before
he takes the casket test, as she'd rather have him around for a while before he's forced to leave her company if (when?) he makes the wrong choice.
She carefully says her feeling isn't love, but also she wouldn't have such feelings if she hated him. (It's the Shakespearean equivalent of "I sort of
don't hate you so maybe you want to hold hands at recess?")
Portia quibbles on what's just, given her father's will. She'd like to teach Bassanio how to interpret the challenge (read: cheat) so he'll choose the right
casket, but that would be breaking her oath. Of course, if he makes the wrong choice, she'll sin anyway by wishing she had broken her oath.
Portia does some more fawning and swooning over Bassanio, and he simply replies that he'd like to take the test now, as all this waiting around is like
being on the rack (a medieval torture device used to stretch people until they broke).
Portia plays along and asks what treason Bassanio has committed that he deserves the rack. Bassanio clarifies quickly: he says he's guilty of mistrust
he is fearful to love Portia fully now, as he can't trust that he'll be around much longer after the casket test. Still, he says, there's nothing off or
untrue about his love for her.
Bassanio then decides he's had enough beating around the bush. He confesses that he loves Portia dearly, though actually it's the torture type of love.
Bassanio finally gets to pick a casket. Portia has everyone back off so he can choose in peace. She insists that music be played, so if he goes out, he
can do it like a swan, but if he stays, then they've already got music playing for their party. How nice!
Portia then compares Bassanio to Hercules (whom she calls by another of his names, "Alcides"). She says Bassanio goes with no less presence but
far more love than Hercules did when he had to rescue the virgin paid up as tribute by Troy to a sea monster. Portia says she herself is the sacrifice,
while everyone else is like a Trojan wife, standing around to see the show. Portia says if Bassanio outlives this test, then she will live again.

While Bassanio is reasoning to himself about the caskets, there's a bit of a song (from the background, it seems, like in movies) about how one comes
to fancy someone and whether that fancying is about the heart or the head. Once the musical interlude concludes, Bassanio lays out his reasoning,
just as the other suitors have done.
Bassanio begins by saying he knows that what's on the outside is often deceptive about what's inside. Bassanio proceeds to list off a couple of
instances where there are tricky ornaments that might convince you a bad thing was actually a good thing.
Bassanio does some more philosophizing, adding beauty to the list of transient ills. Women can wear makeup, and who wears most is the least
prized. Ultimately, beauty is usually veiled, and outer beauty can hide inward ugliness.
Using all this reasoning, Bassanio makes his choice. He dismisses the gold casket as the gaudy food of Midas that proved inedible, and the silver as
the paler of the two metals that are both made base as coins of money. That leaves him the lead casket, which he admits is threatening, but moves
him more with its paleness than the eloquence of the other two precious metal caskets.
He hopes he's right and Portia, knowing he's made the right choice, is secretly flipping out with joy. All of her other passions have given way to love,
and she now worries she feels the emotion in excess. She pleads with love to make itself felt moderately, as she worries she'll have too much of it at
this rate.
Meanwhile, Bassanio has opened the lead casket and found Portia's portrait. He waxes on about how beautiful the picture is, but then reprimands
himself for praising the picture, which is only a shadow of the real woman's beauty. (Now it seems a little ironic that he just gave a lengthy speech
about looks not being important.)
He then reads the scroll inside, which congratulates him for choosing correctly; though it was chance, the chooser's decision to look beyond what was
immediately apparent has rewarded him. The scroll then insists that he kiss his new wife.
Bassanio says he's shocked by his victory right now he feels like a guy who's won a contest and only believes he's won it because everyone else
around him is so happy. He's too shocked to believe this could really be happening, so he will only accept it as true once Portia accepts him.
Portia, of course, is stoked. She wishes she was better, prettier, and wealthier, so as to further please her new man. Though she admits she lacks
experience, she's excited that she's neither too old nor too stupid to learn. She then gives herself over to Bassanio, happily accepting him as "her lord,
her governor, her king." She says everything that was hers is now his, including her mansion, her servants, and herself. She gives him a ring to
signify their new union and says that if he loses it or gives it away, it's as good as ruining their love.
Bassanio, again, claims he's too stricken by all of these new developments to say anything meaningful. He adds that his feelings are like the cheering
of a crowd after a good prince's speech: nothing distinct can be heard, but all joy is expressed without any specific expression. He declares that if the
ring ever leaves his finger, he might as well be proclaimed dead.
Then Nerissa, speaks up and congratulates them. Graziano adds his two cents, namely "Great, you're married. Now can I marry Nerissa?" Graziano
explains that while Bassanio was focused on Portia, the lady, he was focused on Nerissa, the lady's lady. He's made his mouth dry from so much
swearing of love.
Bassanio and Portia confirm with Graziano and Nerissa respectively that their love is all set, and lo and behold, two weddings are planned in one
scene. (Way to economize, Shakespeare.)
Lorenzo, Jessica, and Salerio then randomly show up in Belmont. They're welcomed by everyone, but sadly, Salerio brings bad news from Antonio.
He hands Bassanio a letter from Antonio and declares he can find out exactly how Antonio is doing from its contents.
Portia notes that as Bassanio reads the letter he grows pale and horrified she's sure that its contents declare the death of a dear friend, as nothing
else could provide cause for a man like Bassanio to suddenly look such a mess. She insists that Bassanio tell her what's in the letter, as she is now
half of him and should share his grief as well as his joy.
Bassanio now has to admit the whole truth: he says he told Portia the truth when he said he was a gentleman by blood only, not by wealth. Even that,
though, was stretching it, as not only did he have nothing, but he had bet his friend Antonio's life to get what little he needed to woo her. The letter
from Antonio declares that all of his ventures, to every port, have failed.
Salerio says that things are even worse than they seem. It looks like even if Antonio had the money to pay back the debt, Shylock would insist on the
original terms of the agreement for a pound of Antonio's flesh, money be damned. (It seems as though, since the money was specifically lent against
Antonio's investments in his ships, the ruin of the ships means the bond is broken. Antonio isn't left with the option of procuring the money to pay
Shylock back by some other means, such as his best friend's rich new bride's fortunes.)

Salerio says he's never seen a more greedy and inhuman man than Shylock, who has been bothering the Duke morning and night about the fact that
justice must be served.
The tale continues: twenty merchants and the Duke himself have tried to reason with Shylock, but he's not hearing any of it. He wants justice for
Antonio's breaking the agreement, and justice means he gets to carve Antonio up like a roasted turkey. Jessica confirms this story, and says it looks
like curtains for dear Antonio.
Portia asks if all of this means Bassanio's friend is in trouble, and her husband-to-be confirms that Antonio, his dearest friend in the world, as noble as
the ancient Romans, is screwed for 3,000 ducats.
Portia offers to pay off Antonio's debt twenty times over; no harm should come to Antonio because he is a friend of her new m an. Still, though, she'd
like to get first things done first Bassanio should go to church with her so they can get married, and then he can go to Venice to take care of other
business.
She says she and Nerissa will live like widows and virgins until everything in Venice is resolved. Still, she instructs Bassanio to have a good time with
his buddies who have just shown up. Done with all her directions, she tells Bassanio to read her Antonio's letter.
In the letter, Antonio basically says, "I'm screwed, and I owe Shylock my life, which he'll have. Please come and visit me before I die, since I'm
sacrificing my life for you. Love, Antonio." Portia then instructs Bassanio to go as soon as he's done his business in Belmont. Bassanio says he'll go,
but he won't rest while they're apart.
ACT 3 SCENE 3
On a street in Venice, Shylock presses the jailer to go after Antonio, calling Antonio a fool who lent out money for free. Antonio keeps trying to plead
his case, but to no avail. Shylock is hell-bent on having Antonio seized. He says they've sworn an oath, and he insists on getting the bond that was
sworn for.
Shylock notes that Antonio called him a dog before he had any reason to but now he's determined to live up to his reputation.
Continuing on his rant, Shylock demands justice from the Duke and the jailer, despite how hesitant everyone is. Shylock leaves in a huff, repeating
that he'll have his bond with no interference from the Christians.
Solanio is understandably stressed out and declares Shylock to be an impenetrable dog. Antonio understands why Shylock has it in for him often
people who had forfeited their debts with Shylock moaned about it to Antonio, who then rescued them. Antonio thinks this undercutting is the reason
Shylock hates him. (That and his cruel and unrelenting anti-Semitism, perhaps?)
Antonio has concluded that there's nothing the Duke can do about the situation now. Venice allows foreign nationals some commercial privileges,
which keeps trade alive. If the Duke were to impose on the rights of aliens for Antonio's sake, it would compromise justice, trade, and profit in the
whole diverse city.
At this point Antonio has basically given up he's been so reduced by all this grief and loss that a pound of flesh doesn't matter to him anymore. In
fact, he says, he's so wasted away that he doubts Shylock will even be able find a pound on his body to take. Resigned to his fate, he gives himself
over to the jailer and hopes out loud that his beloved friend Bassanio will come see him. After that, Antonio doesn't care what happens.
ACT 3 SCENE 4
At Belmont, Lorenzo is practicing his flattery on the ladies as usual, except this time it's with Bassanio's new wife in front of Jessica! (Exclamation
point!) He compliments her for bearing the absence of her new husband so graciously and nobly. Still, he says, if Portia knew what a great guy
Antonio is, and how good he is to her husband Bassanio, then she'd be even happier to do her wifely duty.
Portia is all, "Shucks, it's nothing." Basically, if Antonio is such a great friend to her lord Bassanio, then Antonio might as well be her lord, too.
Bassanio's absence is a small price to pay to get Antonio (and by proxy, herself) out of hellish cruelty.
Portia cuts to the chase and tells Lorenzo that she's going to go off to a nearby monastery with Nerissa to pray and contemplate for two days while the
men are gone. In the meantime, Portia asks Lorenzo, "Will you house-sit my sweet mansion with all its servants and stuff, and basically be the lord of
the house while Bassanio and I are out?"
Lorenzo generously says yes, and well wishes are made to Nerissa and Portia all around from Jessica and Lorenzo. As Jessica and Lorenzo leave,
Portia is left alone with her attendant Balthazar and Nerissa. She sends Balthazar on his way with some instructions: he's to take these letters to
Padua and deliver them to Portia's cousin, a Doctor Bellario. The Doctor will likely give Balthazar some letters and clothes in return, and he is to take
them and rush over to the ferry that goes to trade with Venice. She promises she'll be there waiting to meet him and then promptly rushes him off.

None of this has actually sounded like a plan to go to a monastery, and Portia announces cryptically to Nerissa that the two women will see their
husbands sooner than they think.
Portia explains further: their husbands will indeed see them, but they won't recognize them. The women will be dressed convincingly as men. The
other men (including their husbands) will think the disguised girls are accomplished men.
Portia is clearly going to have some fun with this one she promises to be a prettier, daintier-looking boy than Nerissa.
Portia says she's studied many young fools and can mimic their foolish mannerisms quite convincingly. Such foolish mannerism s include boasting of
the fights they've been in, bragging of the women they've spurned, and several other idiotic behaviors. She'll work convincingly to portray a recently
graduated man who's a pompous idiot as all young men tend to be.
Nerissa wonders what all the fuss is about and why they need to dress up like men anyway. Portia says there's a naughty way to answer this question,
but it won't come from her. She says she'll explain everything in the coach, which is waiting for them. They have no time to lose, as they've got twenty
miles and two sex changes to accomplish in a jiffy.
ACT 3 SCENE 5

At Portia's garden in Belmont, Lancelot (Shylock's deserting clown) talks with Jessica (Shylock's deserting daughter). Always a riot, Lancelot says that
Jessica is damned to hell because she's the daughter of a Jew. There's hope for her in the possibility that she's not actually her father's daughter, but
Jessica points out that if that's true, she'd be punished for her mother's sins instead.
Lancelot agrees that Jessica is damned either way. But she points out that she'll be saved by her husband, who will make her Christian when he
marries her. The trouble with this, says Lancelot, is that there are enough Christians already, and more Christians will mean more pork-eaters, which
will raise the price of pork, regardless of who has come around to a different view of God.
Lorenzo then enters and fakes concern over Lancelot getting cozy with Jessica, his wife. He jokes that Lancelot has already gotten too comfortable
with a Moorish woman, who now carries the clown's child. Lancelot, unfazed, says the girl is so promiscuous that anybody could be the father.
Then we get lots of quipping about Lancelot calling the house to prepare dinner, and some talk about how the clown never speaks straight. Lancelot
leaves and Lorenzo asks Jessica what she thinks of Portia.
Jessica is full of praise for the girl, who she claims has no equal on earth. Lorenzo is a little taken aback by Jessica's warm words and teases that
Jessica has in him a husband as worthy as Portia is a wife. They have a crude back and forth about Jessica's willingness to praise Lorenzo before
dinner, as she won't be able to stomach praising him after. Finally they exit together to go eat dinner.