But I will go.-Go Say, I will come. I will go before, sir.Mistress, look out at window for all this; There will come a Christian by, Will be worth a Jewess' eye. [Exit LAUN. Shy. What says that fool of Hagar's offspring, ha? Jes. His words were, Farewell, mistress; nothing else. Shy. The patch is kind enough; but a huge feeder. Snail-slow in profit, and he sleeps by day More than the wild cat: drones hive not with me; Shut doors after you: Fast bind, fast find; [Exit. Jes. Farewell: and if my fortune be not crost, I have a father, you a daughter, lost. SCENE VI. The same. [Exit. Enter GRATIANO and SALARINO, masqued. Gra. This is the pent-house, under which Lorenzo Desir'd us to make stand. 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' pigeons1 fly 4 i. e. fool, or simpleton. 1 Johnson thought that lovers, who are sometimes called turtles or doves in poetry, were meant by Venus' pigeons. The allusion, however, seems to be to the doves by which Venus's chariot is drawn:- Venus drawn by doves is much more prompt to seal new bonds,' &c. 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, The scarfed bark puts from her native bay, 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? 2 Gray evidently caught the imagery of this passage in his Bard, but dropt the allusion to the parable of the prodigal— 'Fair laughs the morn and soft the zephyr blows, In gallant trim the gilded vessel goes; Youth on the prow, and Pleasure at the helm; 3 So in Othello: 'The bawdy wind, that kisses all it meets.' It has been observed by Mr. Steevens that 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-he adds, A ship, however, is commonly spoken of in the feminine gender.' 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; 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 fast 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; * A jest arising from the ambiguity of Gentile, which signifies both a heathen and one well born. And therefore, like herself, wise, fair, and true, Enter JESSICA, below. What, art thou come?-On, gentlemen, away; Our masquing mates by this time for us stay. [Exit with JESSICA and SALARINO. 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 ;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. A golden mind stoops not to shows of dross; One of these three contains her heavenly picture. |