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SCENE VI.

The Same. Enter GRATIANO and SALARINO, masqued. Gra. This is the pent-house, under which Lorenzo Desir'd us to make stand.2 Salar.

His hour is almost past.
Gra. And it is marvel he out-dwells his hour,
For lovers ever run before the clock.

Salar. O, ten times faster Venus' pigeons fly3
To seal love's bonds new made, than they are wont,
To keep obliged faith unforfeited!

Gra. That ever holds: Who riseth from a feast,
With that keen appetite that he sits down?
Where is the horse that doth untread again
His tedious measures with the unbated fire
That he did pace them first? All things that are,
Are with more spirit chased than enjoy’d.
How like a younker, or a prodigal,

measure.

2 Desir'd us to make stand.] Desir’d'us stand, in ancient elliptical language, signifies--desired us to stand. The words—to make, are an evident interpolation, and consequently spoil the

Steevens. 3.0, ten times faster Venus" pigeons Ay-] Lovers have in poé. try been always called Turtles or Doves, which in lower language may be pigeons. Johnson.

Thus Chapman, in his version of Homer's Catalogue of Ships, Iliad the second :

-Thisbe, that for pigeons doth surpasse —;" Mr. Pope, in more elegant language:

-Thisbe, fam'd for silver doves -." Steevens.

a younker,] All the old copies read-a younger. But Rowe's emendation may be justified by Falstaff's question in The First Part of King Henry IV:"I'll not pay a denier. What will you make a younker of me?" Steevens.

How like a younker, or a prodigal,

The scarfed bark puts from her native bay, &c.] Mr. Grey (dropping the particularity of allusion to the parable of the prodigal) seems to have caught from this passage the imagery of the following:

“ Fair laughs the morn, and soft the zephyr blows,

“While proudly riding o'er the azure realm “In gallant trim the gilded vessel goes ;

“ Youth on the Prow, and Pleasure at the helm ; “ Regardless of the sweeping whirlwind's sway, “ That hush'd in grim repose, expects his evening-prey.”

The scarfed bark5 puts from her native bay,
Huggd and embraced by the strumpet wind !6
How like a prodigal doth she return;?
With over-weather'd ribs, 8 and ragged sails,
Lean, rent, and beggar'd by the strumpet wind!

Enter LORENZO.
Salar. Here comes Lorenzo;-more of this hereafter.

Lor. Sweet friends, your patience for my long abode;
Not I, but my affairs, have made you wait;
When you shall please to play the thieves for wives,
I 'll watch as long for you then.-Approach;'
Here dwells my father Jew:-Ho! who's within.

Enter JESSICA above, in boy's clothes.
Jes. Who are you? Tell me, for more certainty,
Albeit I 'll swear that I do know your tongue.

Lor. Lorenzo, and thy love.

Jes. Lorenzo, certain; and my love, indeed; For who love I so much? And now who knows, But you, Lorenzo, whether I am yours? Lor. Heaven, and thy thoughts, are witness that thou

art. Jes. Here, catch this casket; it is worth the pains. I am glad 'tis night, you do not look on me, For I am much asham'd of my exchange:

5

6

The grim-repose, however, was suggested by Thomson's

- deep fermenting tempests brew'd “In the grim evening sky.” Henley.

scarfed bark – ] i.e. the vessel decorated with flags. So, in All’s well that ends well: Yet the scarfs and the bannerets about thee, did manifoldly dissuade me from believing thee a vessel of too great burden.” Steevens.

- embraced by the strumpet wind!] So, in Othello:
“ The bawdy wind, that kisses all it meets.” Malone.

- doth she return;] Surely the bark ought to be of the masculine gender, otherwise the allusion wants somewhat of propriety. This indiscriminate use of the personal for the neuter, at least obscures the passage. A ship, however, is commonly spoken of in the feminine gender. Steevens.

8 With over-weather'd ribs,] Thus both the quartos. The folio has over-wither'd. Malone.

! I'll watch as long for you then.-Approach ;] Read, with a slight variation from Sir T. Hanmer:

“ I'll watch as long for you. Come then, approach.” Ritson.

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But love is blind, and lovers cannot see
The pretty follies that themselves commit;
For if they could, Cupid himself would blush
To see me thus transformed to a boy.

Lor. Descend, for you must be my torch-bearer.

Jes. What, must I hold a candle to my shames?
They in themselves, good sooth, are too too light.
Why, 'tis an office of discovery, love;
And I should be obscur'd.
Lor.

So are you, sweet,
Even in the lovely garnish of a boy.
But come at once;
For the close night doth play the run-away,
And we are staid for at Bassanio's feast.

Jes. I will make fust the doors, and gild myself
With some more ducats, and be with you straight.

[Exit, from above. Gra. Now, by my hood, a Gentile, and no Jew.?

Lor. Beshrew me, but I love her heartily:
For she is wise, if I can judge of her;
And fair she is, if that mine eyes be true;
And true she is, as she hath prov'd herself;
And therefore, like herself; wise, fair, and true,
Shall she be placed in my constant soul.

Enter JESSICA, below.
What, art thou come?-On, gentlemen, away;
Our masquing mates by this time for us stay.

[Exit with Jes. and SALAR.

1 Nou by, my hood, a Gentile, and no Few.) A jest arising from the ambiguity of Gentile, which signifies both a Heathen, and one well born. Johnson. So, at the conclusion of the first part of Jeronimo, &c. 1605:

So, good night kind gentles, “For I hope there's never a Few among you all.” Again, in Swetnam Arraign’d, 1620:

Joseph the Fez was a better Gentile far.Steevens. Dr. Johnson rightly explains this. There is an old book by one Ellis, entitled: The Gentile Sinner, or England's brave Gentleman.

Farmer. To understand Gratiano's oath, it should be recollected that he is in a masqued habit, to which it is probable that formerly, as at present, a large cape or hood was affixed. Malone.

Gratiano alludes to the practice of friars, who frequently swore by this part of their habit. Steevens.

Enter ANTONIO.
Ant. Who's there?
Gra. Signior Antonio?

Ant. Fye, fye, Gratiano! where are all the rest?
"Tis nine o'clock; our friends all stay for you:-
No masque to-night; the wind is come about,
Bassanio presently will go

aboard:
I have sent twenty out to seek for you.

Gra. I am glad on't; I desire no more delight, Than to be under sail, and gone to-night. [Exeunt.

SCENE VII.
Belmont. A Room in Portia's House.
Flourish of Cornets. Enter Portia, with the Prince of

Morocco, and both their Trains,
Por. Go, draw aside the curtains, and discover
The several caskets to this noble prince:-
Now make your choice.

Mor. The first, of gold, who this inscription bears;-
Who chooseth me, shall gain what many men desire.
The second, silver, which this promise carries;
Who chooseth me, shall get as much as he deserves.
This third, dull lead, with warning all as blunt;2-
Who chooseth me, must give and hazard all he hath.
How shall I know if I do choose the right?

Por. The one of them contains my picture, prince; If you choose that, then I am yours withal.

Mor. Some god direct my judgment! Let me see,
I will survey the inscriptions back again:
What says this leaden casket?
Who chooseth me, must give and hazard all he hath.
Must give-For what? for lead? hazard for lead?
This casket threatens: Men, that hazard all,
Do it in hope of fair advantages:
A golden mind stoops not to shows of dross;
I'll then nor give, nor hazard, aught for lead.
What says the silver, with her virgin hue?
Who chooseth me, shall get as much as he deserves.
As much as he deserves ?-Pause there, Morocco,

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as blunt;] That is, as gross as the dull metal. Fohnsou.

And weigh thy value with an even hand:
If thou be’st rated by thy estimation,
Thou dost deserve enough; and yet enough
May not extend so far as to the lady;
And yet to be afeard of my deserving,
Were but a weak disabling of myself.
As much as I deserve!-Why, that's the lady:
I do in birth deserve her, and in fortunes,
In graces, and in qualities of breeding;
But more than these, in love I do deserve.
What if I stray'd no further, but chose here?-
Let's see once more this saying grav’d in gold:
Who chooseth me, shall gain what many men desire.
Why, that's the lady; all the world desires her:
From the four corners of the earth they come,
To kiss this shrine, this mortal breathing saint.
The Hyrcanian deserts, and the vasty wilds
Of wide Arabia, are as through-fares now,
For princes to come view fair Portia:
The watry kingdom, whose ambitious head
Spits in the face of heaven, is no bar
To stop the foreign spirits; but they come,
As o’er a brook, to see fair Portia.
One of these three contains her heavenly picture.
Is 't like, that lead contains her? 'Twere damnation,
To think so base a thought; it were too gross
To rib3 her cerecloth in the obscure grave.
Or shall I think, in silver she's immur'd,
Being ten times undervalued to try'd gold?
O sinful thought! Never so rich a gem
Was set in worse than gold. They have in England
A coin, that bears the figure of an angel
Stamped in gold; but that's insculp'd upon;

3 To rib -] i. e. inclose, as the ribs inclose the viscera. So, in Cymbeline :

- ribb’d and paled in “ With rocks unscaleable, and roaring waters.” Steevens.

- insculp'd upon ;] To insculp is to engrave. So, in a comedy called A new Wonder, a Woman never vex'd, 1632:

- in golden text “Shall be insculp'd—.” Steevens. The meaning is, that the figure of the angel is raised or embossed on the coin, not engraved on it. Tutet. VOL. IV.

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