The Merchant of Venice – Act II
A Transcription of Shakespeare's Play by Ferrick Gray
Prefatory Remarks
Concerning Elision and Contraction
(a continuation from Act I)
Considering whether elision or contractions are appropriate in poetry leads to some debate. I will admit that in some instances they are appropriate, and this depends upon the poem. In others they are distracting, and often used to keep perfect meter. Frequently it is the anapest that will become the substitution for the iamb and at times the bacchic. It is a matter of prior reading that will have the rhythm come true. In the following, I have chosen to remove most elided forms and contractions. Those that remain make more sense to the narrative. Rather than repeat passages, the scansion and pronunciation of names follows that given in Act I.
Act II
Scene i
16
Moroccan Prince doth come to boast his wares,
⠀ To charm the sweet, fair Portia on this day.
To test his chance with caskets if he dares,
⠀ If unsuccessful, promptly on his way.
His dark complexion, yes, this fair one stares
⠀ Though with his words, attempts to lead astray.
Yet Portia is polite, her heart does heave,
And hopes his choice will cause the Prince to leave.
Scene ii
17
Now in the city, Launcelot is there
⠀ While talking to himself of many things,
And airs his thoughts out loud without a care
⠀ And wonders what his future life now brings.
He hates the Jew; the Jew is unaware
⠀ Of many things his conscience hateful sings.
He wants to leave the Jew, or Jew become
A fate abhorred by most yet loved by some.
18
Old Gobbo now is walking by the way,
⠀ An older man whose eyes are sandy blind,
He meets young Launcelot needless to say,
⠀ But does not recognize him of his kind.
He stops, he asks a question if he may
⠀ Where lives the Jew? That's if he wouldn't mind,
But Launcelot decides to play a game,
Is it fun or is it confusion; all the same.
19
Now Launcelot would like to know what's thought
⠀ About him when he's not about to hear,
And if these people treat him as they ought,
⠀ But gaining his response is not so clear.
Old Gobbo seems to be on one track caught,
⠀ But clearly loves his only son so dear.
However, he can't see his son before
His eyes, and thus he searches even more.
20
But Launcelot, he still requires to know
⠀ About the things that other people say,
With all this talk, there's nothing left to show
⠀ And now he tries to sway Old Gobbo's way.
He kneels before Old Gobbo, all a-glow
⠀ And seeks his father's blessing on this day.
Old Gobbo pats the head of this young male,
And feels a beard just like poor Dobbin's tail.
21
Old Gobbo's not convinced to his dismay,
⠀ For Launcelot does know his wife by name,
His mother's name as well, what can he say,
⠀ Father and son with family name the same.
For them, there's no more foolishness this day,
⠀ And both are now content from whence they came,
But neither one would naturally like the Jew,
And Launcelot would like a matter new.
22
Now while they spoke of all these little things,
⠀ Bassanio did happen by the way,
So too fine Leonardo company brings,
⠀ To meet with Gratiano on today.
Young Launcelot would Bassanio sway
⠀ And for a master new, this youngster sings.
There's much ado and letters must be sent,
And news will come to those whom it is meant.
23
The Gobbos have Bassanio confused
⠀ As to the message both seek to relay,
But then he finds these two, the Jew has used
⠀ For purposes, the Jew will never pay.
The harshness of this Jew, is now accused
⠀ And they will change their master on this day.
Bassanio, these two, their master be,
And both from Shylock, in a moment flee.
24
Now with all sorted, each is on their way
⠀ And Leonardo too to finish up
Their business so as not to go astray,
⠀ And all will meet tonight to dine and sup.
Fool Gratiano has some more to say
⠀ Unto Bassanio, this foolish pup,
To Belmont must he go with his good friends,
Bassanio will see how well it ends.
Scene iii
25
Fair Jessica, a beauty, woman rare,
⠀ Is sad to see young Launcelot to go,
But understands the struggle of this pair
⠀ And bids farewell, a ducat, let him know
A letter to Lorenzo, her love bare
⠀ To leave her father's house with seeds to sow.
She hopes to put an end to all this strife
And to become a Christian and his wife.
Scene iv
26
The group of four discuss plans for tonight,
⠀ To steal away with young Jessica fair,
Lorenzo feels that this is only right
⠀ To free his love from her father's stare.
To dress her as a page within his sight
⠀ With gold and jewels betrothed this loving pair.
Salerio, Solanio are two,
Lorenzo, Gratiano bid adieu.
Scene v
27
The Jew with Launcelot concernèd not,
⠀ His leave is sort of welcomed by the way,
He's not concerned at all with Christian rot,
⠀ And bid that Launcelot no longer stay.
His money and his wealth is all he's got
⠀ And does his best to not lead it astray.
Protect his gold, his jewels and so much more,
He tells fair Jessica to keep the door.
28
Now Shylock, of the plan is unaware,
⠀ A plan to rob him of his jewels and gold,
Lorenzo comes to steal his daughter fair,
⠀ And she intends to leave without him told.
She has no doubt they'll make a happy pair,
⠀ And has the strength to go for she is bold.
Farewell, for Shylock has to bear the cost,
She had a father, he a daughter lost.
Scene vi
29
Salerio and Gratiano wait
⠀ Below the penthouse they were told to stay,
And both are worried that the hour is late.
⠀ Lorenzo isn't seen for love he may
Be late, for love is always tuned to fate,
⠀ Without a doubt, Lorenzo finds his way.
At last it is, Lorenzo has arrived
To carry out the plan they have contrived.
30
Fair Jessica awaits him, from above
⠀ To hear his voice and recognize him so,
For costumes never disguise a lover's love
⠀ And tarry not a moment, she will go.
Though blessed with innocence, a yearning dove,
⠀ Her leaving from her father strikes a blow.
With gold and jewels to sooth a lover's heart,
Together come and from the house depart.
31
Both lovers leave and with Salerio,
⠀ They make their way, it is as lovers do.
Antonio arrives and greets hello
⠀ To foolish Gratiano; that is who
Awaits alone in dark for light is low,
⠀ Thankful that Antonio's voice he knew.
There will be no masque, the wind is strong tonight,
And they are pleased to undergo their flight.
Scene vii
32
The time is now, the Prince has leave to choose
⠀ A casket from the three; lead, silver, gold,
And prithee he shall leave her if he lose
⠀ And heed the message there that he is told.
But of the caskets three, he is bemuse,
⠀ The message on each one will soon unfold.
So now he reads them carefully, each of these
And so determines which of these should please.
33
"Who chooseth me must give and hazard all
⠀ He hath." What kind of message could this be?
This casket threatens he, all may befall -
⠀ A not so pleasant future for to see.
So onward now to silver. What's its call?
⠀ "Who chooseth me shall get as much as he
Deserve." It's almost tempting, what is told,
But he decides to choose the one of gold.
34
"Who chooseth me shall gain what may men
⠀ Desire." It speaks of all that is untold.
He opened the casket and inscribed with pen
⠀ A skull and scroll but not her portrait gold.
Be still, the Prince was shocked and so he then
⠀ Took leave from Portia quick and swift and cold.
A fond farewell, a gentle riddance too,
From one you chose to court and never knew.
Scene viii
35
Bassanio has set his sails tonight,
⠀ To sup with Shylock wasn't on his mind,
And Shylock raised the Duke to check his flight
⠀ To seek revenge of Christians on his kind.
Lorenzo and fair Jessica in sight
⠀ Spied by the Duke, put Shylock in a bind.
"My ducats and my jewels and precious stones!"
Was all the people heard of Shylock's moans.
36
Now all was seen a joke by many folk,
⠀ Salerio, Solanio saw too,
And treated Shylock somewhat like a joke
⠀ To know the two young lovers quickly flew.
But news at hand was not a joke to poke -
⠀ That ships abroad were lost. 'Twas all they knew.
So off they went to find Antonio,
To keep his thoughts from things he should not know.
Scene ix
37
Another suitor comes in Portia's day,
⠀ To choose from caskets three, to take a chance.
The Prince of Aragon is on his way,
⠀ To come before and thus to take his stance.
He wants fair Portia for his bride, she may
⠀ Of course submit to do the bridal dance,
But for this time, his wisdom true must be,
To choose correctly from the caskets three.
38
He chooses not the lead and not the gold.
⠀ Why should he want what every man desires.
His words were proud and somewhat very bold;
⠀ An air of self-importance he acquires.
So chooses he the silver, we are told,
⠀ But he won't find the portrait he admires.
What's this? A picture of a blinking fool?
My, my - He's taken back and rather cool.
39
Though disappointment reigns within his head,
⠀ He has no choice, none other than to leave.
He came with one, but now two fools instead,
⠀ To leave with broken heart upon his sleeve.
And so it seems he should have chosen lead,
⠀ But that he didn't know. Oh let him grieve.
Now Portia didn't mind and let me say,
Bassanio is now upon his way.