Merchant of Venice, Act 4, Scene 1

The Merchant of Venice

William Shakespearec. 1596
Influence20th pct
Popularity60th pct
Shakespeare

Read this if you…

  • want the play that had "all that glitters is not gold" - all time quote
  • want to debate with somebody if the play is anti-semitic or not even though it clearly is
  • think Venice (which is all about commerce) is a cool setting

Skip this if you…

  • aren't willing to go slow, read notes, look up analyses of famous passages (only way to "get" shakespeare)
  • foolishly think shakespeare is overrated
  • don't want a play that's probably anti-semitic

The Groblé Take

This one’s a banger. All that glitters is not gold is such a classic line. The story itself just flowed really well. Shylock got really screwed over. Hard to tell if it’s really anti semitic or Shakespeare just commenting on the times, but it’s depicting the realistic hatred for sure. The rings part is great. Shylock has some awesome lines , and the backdrop of the iron law of Venice is cool too. Banger

Connections

The lineage through The Merchant of Venice

Built Onwhat came beforeThe Merchant of Ven…DanielThe Gospels

  • Daniel by Daniel. The Merchant of Venice built on it. - The trial scene runs on the Book of Daniel: Shylock cries "A Daniel come to judgment! Yea, a Daniel!" the moment the verdict seems his - Portia, the wise young judge who reverses the case, takes Daniel's own Babylonian name — Balthasar - The model is Daniel rescuing Susanna by cross-examination — knowing that scene sharpens the bitter irony of who's quoting it
  • The Gospels by Matthew. The Merchant of Venice built on it. - Portia's famous "quality of mercy" plea is the Sermon on the Mount turned into legal rhetoric — "Blessed are the merciful" made flesh - Her appeal that "that same prayer doth teach us all to render the deeds of mercy" leans on the Lord's Prayer's "forgive us our debts" (Matthew 6) - The play's mercy-versus-justice spine is a theological argument; reading Matthew first tells you which side the Gospel is on
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Gallery

Depicted in Art

Shylock in dark robes embraces his daughter Jessica in their Venetian home; she looks away, already conflicted about her impending flight with Lorenzo.

Maurycy Gottlieb, 1876

Shylock hands keys to his daughter Jessica before leaving for dinner with the Christians, unaware she is about to flee with Lorenzo.

Gilbert Stuart Newton, 1830

Portia in Belmont stands beside Bassanio at the casket scene, the leaden casket open before them as he discovers her portrait inside.

Richard Parkes Bonington, 1826

Bassanio lifts the lead casket open at Belmont and finds Portia's portrait inside; she stands by, watching with relief and delight.

Antonio Ermolao Paoletti

Shylock hands the keys to Jessica at the doorway of his Venetian house as Launcelot Gobbo stands by, the moment before father and daughter are parted.

Robert Smirke, 1795

Shylock turns his back on a pleading Antonio in a Venetian street; the moneylender refuses to soften his bond as the merchant's ruin closes in.

Richard Westall, 1795

Shylock clutches his bond, knife ready, as the disguised Portia studies the document and prepares her ruling on the pound of flesh.

Edward Alcock, 1778

Portia stands in a black hat and lawyer's robes delivering her verdict; Shylock, thwarted, holds the useless knife in his right hand.

Frank Howard, 1830

Shylock leaves the Venetian court alone, arms raised in frustration and defeat after losing his bond, his robes flowing behind him.

John Gilbert

Fuseli's mannerist treatment of the trial scene — exaggerated gestures and theatrical poses as Portia delivers judgment over Shylock.

Henry Fuseli

Editions

Recommended Editions

#1Top Pick$6.99$6.51

Folger Shakespeare Library

2010

Folger's the readable one. Text on one page, notes on the facing page, written in plain English instead of textbook-speak. Catches every word and reference you'd otherwise Google, without breaking the scene to do it.

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Notable Quotes

All that glisters is not gold.

The Merchant of Venice
All 23 quotes, with sources →
Adaptations

Screen & Stage

Posters via The Movie Database (TMDB)

AcclaimPraised by 6 notable voices
  • Sigmund Freud, founder of psychoanalysis, 1856–1939: Devoted his 1913 essay 'The Theme of the Three Caskets' to the play, reading the casket choice as the choice between three women, the last of whom is death.
  • Karl Marx, philosopher & political economist, 1818–1883: Named Shakespeare a favourite and reached for Shylock in Capital — 'the Shylock-like clinging to the letter' of the bond — as the image of capital's pitiless logic.
  • Al Pacino, actor, filmmaker, 1940–: "On playing Shylock: "He's not an Iago, not a Richard III" — a hero and a survivor, with one of the great speeches against prejudice."
  • F. Murray Abraham, actor, 1939–: ""Shylock will not go away because we haven't answered his questions" — why we persecute difference, why we reject the outsider, why we refuse each other's humanity."
  • Harold Bloom, Yale literary critic, 1930–2019: "Shylock's prose is Shakespeare's best before Falstaff's... His utterances manifest a spirit so potent, malign, and negative as to be unforgettable."
  • André Tchaikowsky, pianist & composer, 1935–1982: Spent the last fourteen years of his life (1968–1982) writing his only opera, an adaptation of The Merchant of Venice, leaving it unfinished at his death; it premiered in 2013.

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