OBSERVATIONS. THE reader will find an epitome of the novel, from which the story of this play is supposed to be taken, at the conclusion of the notes. It should however be remembered, that if our poet was at all indebted to the Italian novelists, it must have been through the medium of some old translation, which has hitherto escaped the researches of his most industrious editors. It appears from a passage in Stephen Gosson's School of Abuse, &c. 1579, that a play, comprehending the distinct plots of this, had been exhibited before Shakspeare's, viz. "The Jew shown at the Bull, representing the greediness of worldly Choosers, and the bloody Minds of Usurers." "These plays, says Gosson, (for he mentions others with it) are goode and sweete playes, &c." It is therefore not improbable that Shakspeare new-wrote his piece, on the model already mentioned, and that the elder performance, being inferior, was permitted to drop silently into oblivion. STEEVENS. Of The Merchant of Venice the style is even and easy, with few peculiarities of diction, or anomalies of construction. The comick part raises laughter, and the serious fixes expectation. The probability of either one or the other story cannot be maintained. The union of two actions in one event is in this drama eminently happy. Dryden was much pleased with his own address in connecting the two plots of his Spanish Friar, which yet, I believe, the critick will find excelled by this play. JOHNSON. PERSONS REPRESENTED. Duke of Venice. Prince of Morocco, Prince of Arragon, suitors to Portia. ANTONIO, the merchant of Venice : SALANIO, SALARINO, GRATIANO, friends to Antonio and Bassanio. LORENZO, in love with Jessica. SHYLOCK, a Jew: TUBAL, a Jew, his friend. LAUNCELOT GOBBO, a clown, servant to Shylock. Old GOBBO, father to Launcelot. SALERIO, a messenger from Venice. Magnificoes of Venice, Officers of the Court of Justice, Jailer, Servants, and other Attendants. SCENE-partly at Venice, and partly at Belmont, the seat of Portia, on the continent. SCENEI.-Venice. ACT I. A Street. Enter ANTONIO, SALARINO, and SALANIO. Antonio. IN sooth, I know not why I am so sad ; And such a want-wit sadness makes of me, Sal. Your mind is tossing on the ocean; That curt'sy to them, do them reverence, As they fly by them with their woven wings. Sala. 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, 2 to know where sits the wind; Sal. My wind, cooling my broth, Would blow me to an ague, when I thought [1] Argosies-A name given in our author's time to ships of great burthen, probably galleons, such as the Spaniards use in their West India trade. JOH. [2] By holding up the grass, or any light body that will bend by a gentle blast, the direction of the wind is found." This way I used in shooting. Betwixt the markes was an open place, there I take a fethere, or a lyttle light grasse, and so learned how the wind stood." Ascham. JOHNSON I should not see the sandy hour-glass run, And not bethink me straight of dangerous rocks? And now worth nothing? Shall I have the thought Is sad to think upon his merchandize. Ant. Believe me, no: I thank my fortune for it, Nor to one place; nor is my whole estate Ant. Fie, fie! Sala. Not in love neither? Then let's say, you are sad, That they'll not show their teeth in way of smile, 5 Enter BASSANIO, LORENZO, and GRATIANO. We leave you now with better company. Sala. I would have staid till I had made you merry, If worthier friends had not prevented me. Ant. Your worth is very dear in my regard. [3] Andrew-The name of the ship. JOHNSON. [4] This gives a very picturesque image of the countenance in laughing when the eyes are half shut. WARBURTON. [5] Because such are apt enough to show their teeth in anger. WARB I take it, your own business calls on you, Bass. Good signiors both, when shall we laugh? Say, when? You grow exceeding strange: Must it be so? Sal. We'll make our leisures to attend on yours. [Exe. SALARINO and SALANIO. Lor. My lord Bassanio, since you have found Antonio, We two will leave you : but, at dinner time, pray you, have in mind where we must meet. Bass. I will not fail you. Gra. 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 chang'd. Ant. I hold the world but as the world, Gratiano; A stage, where every man must play a part, And mine a sad one. Gra. Let me play the Fool :6 With mirth and laughter let old wrinkles come; Why should a man, whose blood is warm within, Sleep when he wakes? and creep into the jaundice I love thee, and it is my love that speaks ;- Do cream and mantle, like a standing pond; If they should speak, would almost damn those ears, [6] Alluding to the common comparison of human life to a stage-play. So that he desires his may be the fool's or buffoon's part, which was a constant character in the old farces; from whence came the phrase, to play the fool. WARBURTON. |