The Merchant of Venice ICSE Class 10 Act 1 Scene 1
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Scene I. Venice. A street.
Enter Antonio, Salarino And Salanio
Antonio
In sooth, I know not why I am so sad:
It wearies me; you say it wearies you;
But how I caught it, found it, or came by it,
What stuff ’tis made of, whereof it is born,
I am to learn;
And such a want-wit sadness makes of me,
That I have much ado to know myself.
Salarino
Your mind is tossing on the ocean;
There, where your argosies with portly sail,
Like signiors and rich burghers on the flood,
Or, as it were, the pageants of the sea,
Do overpeer the petty traffickers,
That curtsy to them, do them reverence,
As they fly by them with their woven wings.
Salanio
Believe me, sir, had I such venture forth,
The better part of my affections would
Be with my hopes abroad. I should be still
Plucking the grass, to know where sits the wind,
Peering in maps for ports and piers and roads;
And every object that might make me fear
Misfortune to my ventures, out of doubt
Would make me sad.
Salarino
My wind cooling my broth
Would blow me to an ague, when I thought
What harm a wind too great at sea might do.
I should not see the sandy hour-glass run,
But I should think of shallows and of flats,
And see my wealthy Andrew dock’d in sand,
Vailing her high-top lower than her ribs
To kiss her burial. Should I go to church
And see the holy edifice of stone,
And not bethink me straight of dangerous rocks,
Which touching but my gentle vessel’s side,
Would scatter all her spices on the stream,
Enrobe the roaring waters with my silks,
And, in a word, but even now worth this,
And now worth nothing? Shall I have the thought
To think on this, and shall I lack the thought
That such a thing bechanced would make me sad?
But tell not me; I know, Antonio
Is sad to think upon his merchandise.
Antonio
Believe me, no: I thank my fortune for it,
My ventures are not in one bottom trusted,
Nor to one place; nor is my whole estate
Upon the fortune of this present year:
Therefore my merchandise makes me not sad.
Salarino
Why, then you are in love.
Antonio
Fie, fie!
Salarino
Not in love neither? Then let us say you are sad,
Because you are not merry: and ’twere as easy
For you to laugh and leap and say you are merry,
Because you are not sad. Now, by two-headed Janus,
Nature hath framed strange fellows in her time:
Some that will evermore peep through their eyes
And laugh like parrots at a bag-piper,
And other of such vinegar aspect
That they’ll not show their teeth in way of smile,
Though Nestor swear the jest be laughable.
Enter Bassinio, Lorenzo, And Gratiano
Salanio
Here comes Bassanio, your most noble kinsman,
Gratiano and Lorenzo. Fare ye well:
We leave you now with better company.
Salarino
I would have stay’d till I had made you merry,
If worthier friends had not prevented me.
Antonio
Your worth is very dear in my regard.
I take it, your own business calls on you
And you embrace the occasion to depart.
Salarino
Good morrow, my good lords.
Bassinio
Good signiors both, when shall we laugh? say, when?
You grow exceeding strange: must it be so?
Salarino
We’ll make our leisures to attend on yours.
Exeunt Salarino and Salanio
Lorenzo
My Lord Bassanio, since you have found Antonio,
We two will leave you: but at dinner-time,
I pray you, have in mind where we must meet.
Bassinio
I will not fail you.
Gratiano
You look not well, Signior Antonio;
You have too much respect upon the world:
They lose it that do buy it with much care:
Believe me, you are marvellously changed.
Antonio
I hold the world but as the world, Gratiano;
A stage where every man must play a part,
And mine a sad one.
Gratiano
Let me play the fool:
With mirth and laughter let old wrinkles come,
And let my liver rather heat with wine
Than my heart cool with mortifying groans.
Why should a man, whose blood is warm within,
Sit like his grandsire cut in alabaster?
Sleep when he wakes and creep into the jaundice
By being peevish? I tell thee what, Antonio–
I love thee, and it is my love that speaks–
There are a sort of men whose visages
Do cream and mantle like a standing pond,
And do a wilful stillness entertain,
With purpose to be dress’d in an opinion
Of wisdom, gravity, profound conceit,
As who should say ‘I am Sir Oracle,
And when I ope my lips let no dog bark!’
O my Antonio, I do know of these
That therefore only are reputed wise
For saying nothing; when, I am very sure,
If they should speak, would almost damn those ears,
Which, hearing them, would call their brothers fools.
I’ll tell thee more of this another time:
But fish not, with this melancholy bait,
For this fool gudgeon, this opinion.
Come, good Lorenzo. Fare ye well awhile:
I’ll end my exhortation after dinner.
Lorenzo
Well, we will leave you then till dinner-time:
I must be one of these same dumb wise men,
For Gratiano never lets me speak.
Gratiano
Well, keep me company but two years moe,
Thou shalt not know the sound of thine own tongue.
Antonio
Farewell: I’ll grow a talker for this gear.
Gratiano
Thanks, i’ faith, for silence is only commendable
In a neat’s tongue dried and a maid not vendible.
Exeunt Gratiano and Lorenzo
Antonio
Is that any thing now?
Bassinio
Gratiano speaks an infinite deal of nothing, more
than any man in all Venice. His reasons are as two
grains of wheat hid in two bushels of chaff: you
shall seek all day ere you find them, and when you
have them, they are not worth the search.
Antonio
Well, tell me now what lady is the same
To whom you swore a secret pilgrimage,
That you to-day promised to tell me of?
Bassinio
‘Tis not unknown to you, Antonio,
How much I have disabled mine estate,
By something showing a more swelling port
Than my faint means would grant continuance:
Nor do I now make moan to be abridged
From such a noble rate; but my chief care
Is to come fairly off from the great debts
Wherein my time something too prodigal
Hath left me gaged. To you, Antonio,
I owe the most, in money and in love,
And from your love I have a warranty
To unburden all my plots and purposes
How to get clear of all the debts I owe.
Antonio
I pray you, good Bassanio, let me know it;
And if it stand, as you yourself still do,
Within the eye of honour, be assured,
My purse, my person, my extremest means,
Lie all unlock’d to your occasions.
Bassinio
In my school-days, when I had lost one shaft,
I shot his fellow of the self-same flight
The self-same way with more advised watch,
To find the other forth, and by adventuring both
I oft found both: I urge this childhood proof,
Because what follows is pure innocence.
I owe you much, and, like a wilful youth,
That which I owe is lost; but if you please
To shoot another arrow that self way
Which you did shoot the first, I do not doubt,
As I will watch the aim, or to find both
Or bring your latter hazard back again
And thankfully rest debtor for the first.
Antonio
You know me well, and herein spend but time
To wind about my love with circumstance;
And out of doubt you do me now more wrong
In making question of my uttermost
Than if you had made waste of all I have:
Then do but say to me what I should do
That in your knowledge may by me be done,
And I am prest unto it: therefore, speak.
Bassinio
In Belmont is a lady richly left;
And she is fair, and, fairer than that word,
Of wondrous virtues: sometimes from her eyes
I did receive fair speechless messages:
Her name is Portia, nothing undervalued
To Cato’s daughter, Brutus’ Portia:
Nor is the wide world ignorant of her worth,
For the four winds blow in from every coast
Renowned suitors, and her sunny locks
Hang on her temples like a golden fleece;
Which makes her seat of Belmont Colchos’ strand,
And many Jasons come in quest of her.
O my Antonio, had I but the means
To hold a rival place with one of them,
I have a mind presages me such thrift,
That I should questionless be fortunate!
Antonio
Thou know’st that all my fortunes are at sea;
Neither have I money nor commodity
To raise a present sum: therefore go forth;
Try what my credit can in Venice do:
That shall be rack’d, even to the uttermost,
To furnish thee to Belmont, to fair Portia.
Go, presently inquire, and so will I,
Where money is, and I no question make
To have it of my trust or for my sake.
Scene II: Belmont. A room in Portia’s house.
Enter Portia And Nerissa
Portia
By my troth, Nerissa, my little body is aweary of
this great world.
Nerissa
You would be, sweet madam, if your miseries were in
the same abundance as your good fortunes are: and
yet, for aught I see, they are as sick that surfeit
with too much as they that starve with nothing. It
is no mean happiness therefore, to be seated in the
mean: superfluity comes sooner by white hairs, but
competency lives longer.
Portia
Good sentences and well pronounced.
Nerissa
They would be better, if well followed.
Portia
If to do were as easy as to know what were good to
do, chapels had been churches and poor men’s
cottages princes’ palaces. It is a good divine that
follows his own instructions: I can easier teach
twenty what were good to be done, than be one of the
twenty to follow mine own teaching. The brain may
devise laws for the blood, but a hot temper leaps
o’er a cold decree: such a hare is madness the
youth, to skip o’er the meshes of good counsel the
cripple. But this reasoning is not in the fashion to
choose me a husband. O me, the word ‘choose!’ I may
neither choose whom I would nor refuse whom I
dislike; so is the will of a living daughter curbed
by the will of a dead father. Is it not hard,
Nerissa, that I cannot choose one nor refuse none?
Nerissa
Your father was ever virtuous; and holy men at their
death have good inspirations: therefore the lottery,
that he hath devised in these three chests of gold,
silver and lead, whereof who chooses his meaning
chooses you, will, no doubt, never be chosen by any
rightly but one who shall rightly love. But what
warmth is there in your affection towards any of
these princely suitors that are already come?
Portia
I pray thee, over-name them; and as thou namest
them, I will describe them; and, according to my
description, level at my affection.
Nerissa
First, there is the Neapolitan prince.
Portia
Ay, that’s a colt indeed, for he doth nothing but
talk of his horse; and he makes it a great
appropriation to his own good parts, that he can
shoe him himself. I am much afeard my lady his
mother played false with a smith.
Nerissa
Then there is the County Palatine.
Portia
He doth nothing but frown, as who should say ‘If you
will not have me, choose:’ he hears merry tales and
smiles not: I fear he will prove the weeping
philosopher when he grows old, being so full of
unmannerly sadness in his youth. I had rather be
married to a death’s-head with a bone in his mouth
than to either of these. God defend me from these
two!
Nerissa
How say you by the French lord, Monsieur Le Bon?
Portia
God made him, and therefore let him pass for a man.
In truth, I know it is a sin to be a mocker: but,
he! why, he hath a horse better than the
Neapolitan’s, a better bad habit of frowning than
the Count Palatine; he is every man in no man; if a
throstle sing, he falls straight a capering: he will
fence with his own shadow: if I should marry him, I
should marry twenty husbands. If he would despise me
I would forgive him, for if he love me to madness, I
shall never requite him.
Nerissa
What say you, then, to Falconbridge, the young baron
of England?
Portia
You know I say nothing to him, for he understands
not me, nor I him: he hath neither Latin, French,
nor Italian, and you will come into the court and
swear that I have a poor pennyworth in the English.
He is a proper man’s picture, but, alas, who can
converse with a dumb-show? How oddly he is suited!
I think he bought his doublet in Italy, his round
hose in France, his bonnet in Germany and his
behavior every where.
Nerissa
What think you of the Scottish lord, his neighbour?
Portia
That he hath a neighbourly charity in him, for he
borrowed a box of the ear of the Englishman and
swore he would pay him again when he was able: I
think the Frenchman became his surety and sealed
under for another.
Nerissa
How like you the young German, the Duke of Saxony’s nephew?
Portia
Very vilely in the morning, when he is sober, and
most vilely in the afternoon, when he is drunk: when
he is best, he is a little worse than a man, and
when he is worst, he is little better than a beast:
and the worst fall that ever fell, I hope I shall
make shift to go without him.
Nerissa
If he should offer to choose, and choose the right
casket, you should refuse to perform your father’s
will, if you should refuse to accept him.
Portia
Therefore, for fear of the worst, I pray thee, set a
deep glass of rhenish wine on the contrary casket,
for if the devil be within and that temptation
without, I know he will choose it. I will do any
thing, Nerissa, ere I’ll be married to a sponge.
Nerissa
You need not fear, lady, the having any of these
lords: they have acquainted me with their
determinations; which is, indeed, to return to their
home and to trouble you with no more suit, unless
you may be won by some other sort than your father’s
imposition depending on the caskets.
Portia
If I live to be as old as Sibylla, I will die as
chaste as Diana, unless I be obtained by the manner
of my father’s will. I am glad this parcel of wooers
are so reasonable, for there is not one among them
but I dote on his very absence, and I pray God grant
them a fair departure.
Nerissa
Do you not remember, lady, in your father’s time, a
Venetian, a scholar and a soldier, that came hither
in company of the Marquis of Montferrat?
Portia
Yes, yes, it was Bassanio; as I think, he was so called.
Nerissa
True, madam: he, of all the men that ever my foolish
eyes looked upon, was the best deserving a fair lady.
Portia
I remember him well, and I remember him worthy of
thy praise.
Enter a Serving-man
How now! what news?
Servant
The four strangers seek for you, madam, to take
their leave: and there is a forerunner come from a
fifth, the Prince of Morocco, who brings word the
prince his master will be here to-night.
Portia
If I could bid the fifth welcome with so good a
heart as I can bid the other four farewell, I should
be glad of his approach: if he have the condition
of a saint and the complexion of a devil, I had
rather he should shrive me than wive me. Come,
Nerissa. Sirrah, go before.
Whiles we shut the gates
upon one wooer, another knocks at the door.
Questions And Answers
What happens in Act 1 of The Merchant of Venice?
The play opens with Antonio, a Venetian merchant, sharing with his friends Salerio and Solanio that he feels ‘sad’, but does not know why. His friends suggest that he is either worried about his ships, which are ‘tossing on the ocean’ and full of valuable goods, or that he is ‘in love’.
Where does the Act 1 Scene 1 take place in Merchant of Venice?
Antonio (a Venetian merchant) is hanging out with his friends Salerio and Solanio on a street in Venice.
What is the theme of Act 1 in The Merchant of Venice?
Revenge, justice and forgiveness and the possibility of mercy as a response to injustice. Some related scenes: Act 1 Scene 3: Bassanio asks to borrow three thousand ducats from Shylock, Shylock reminds him and Antonio of past mistreatment and Antonio agrees to the bond.
Who is sad in the beginning of the Act 1 Scene 1 of The Merchant of Venice?
In scene 1, his friends, Salanio and Salarino, indicate that he is depressed and angry due to the business of his ships which seems to be going down the drain. Antonio is shown as a filthy rich merchant. He has invested a lot of money on ships and all of them are currently in the sea.
Why does Shylock hate Antonio?
Shylock hates Antonio because Antonio has the privilege of being a wealthy Venetian who charges no interest on his loans, and he also hates Antonio for being a Christian. Antonio not only loans money interest-free to many, he has also covered the loans of Shylock’s victims without charging them interest to repay him.
What is the most important scene in The Merchant of Venice?
1. Antonio offers to act as Bassanio’s guarantor (Act 1, Scene 1) Antonio, a prosperous Venetian merchant, is unable to explain his sadness to his friends, who suggest he must have business or love worries. When Bassanio arrives with Lorenzo and Gratiano, he asks his close friend Antonio to lend him some more money.
What is the most striking theme in Act 1 Scene 1 Merchant of Venice?
Friendship. The theme of friendship drives most of the action in The Merchant of Venice. Bassanio needs money and turns to Antonio, who has already offered him substantial financial support in the past.
Why is Antonio so sad at the first scene?
Some commentators have suggested that Antonio’s sadness probably stems from the fact that he realizes that he will soon lose the company of his best friend and companion, Bassanio, to that of a seemingly beautiful and wealthy young maiden, Portia with whom Bassanio has become infatuated.
Is Antonio a wealthy merchant?
Antonio certainly gives the appearance of being a wealthy man. He’s a successful merchant with a large fleet of ships engaging in profitable trade throughout the world. He clearly has money to spare, as he often helps people out financially when they’ve fallen on hard times.
Does Shylock deserve to be punished?
his daughter betrayed him and he lost most of his wealth. moreover, he was made to convert to Christianity. though his intentions to kill antonio were wrong, his reasons to loath him were justified. the punishment he got was more of a triumph of the christians over the jews which was a a very inhuman thing to do.