Merchant of Venice. - Repositories
Merchant of Venice. - Repositories Merchant of Venice. - Repositories
168 NOTES [ACT III 1. 274. impeach the freedom of the state. From what is said later in Act IV., it seems as if Shakespeare forgot that Venice was a free city, and thought of her as an English city possessing a charter from the state of which she was a part. This charter, which granted certain rights and a considerable amount of independence, could be taken away from a city if she did not fulfil the conditions under which the charter had been granted — if, for instance, she did not show justice to foreign merchants. I. 276. magnificoes. Nobles. II. 280-286. In these words of Jessica's, is any light thrown upon the question as to when and how the plot against Antonio grew in the mind of Shylock ? 1. 289. best-condition'd and unwearied. Where in II,, I., did we have a similar example of this condensed manner of expressing the superlative of two adjectives connected by and ? What word must be supplied here to-day to make the meaning fully clear ? Where in L, ii., was condition used with the same meaning as here ? Where, a few lines above, did we have a proof of these qualities in Antonio's character ? 1. 291. ancient Roman honour. Recall from Julius Cmar the words of the Roman Brutus : — ** Set honour i' the one eye and death i' the other. And I will look on death indifferently." L 308. cheer. Countenance. 1. 315. you and I. Not right according to grammatical
S^BNB 3.] NOTES 169 canons, but regarded as idiomatically correct in Elizabethaa English. 11, 1-323. Does Portia in this scene show herself more of a girl or of a woman ? Has Bassanio been thoughtless and forgetful of Antonio and his bond ? If so, is the forgetfulness to be laid to him as a fault ? What is the most important thing that has happened in this scene ? What two great passions clash? and at just what point? Consider the metre of the two lyrics. Find all the instances of rhymed lines in this scene, in each instance suggest a reason for the use of rhyme. SCENK III 1. 1. Gaoler. Why has Antonio been allowed to walk forth with his gaoler (pronounced jailer^ ? 1. 3. yet. At least. 1. 6. dog. Where at least twice before in the play have we heard this epithet given to Shylock ? 1. 9. naughty. Worthless, good for naught. Naughty had in Shakespeare's time a stronger meaning than it has to-day. 1. 9. fond. See IL, ix., 27. 1. 18. impenetrable. Not to be moved, relentless. 19. kept. Lived. 1. 22. deliver'd. Released. 1.27. commodity. Convenience (of trade, etc). How differently used in I., i., 178 ? L 28. it. Does this refer to commodity^ or to course of law f
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S^BNB 3.] NOTES 169<br />
canons, but regarded as idiomatically correct in Elizabethaa<br />
English.<br />
11, 1-323. Does Portia in this scene show herself more <strong>of</strong><br />
a girl or <strong>of</strong> a woman ? Has Bassanio been thoughtless and forgetful<br />
<strong>of</strong> Antonio and his bond ? If so, is the forgetfulness to<br />
be laid to him as a fault ? What is the most important thing<br />
that has happened in this scene ? What two great passions<br />
clash? and at just what point? Consider the metre <strong>of</strong> the<br />
two lyrics. Find all the instances <strong>of</strong> rhymed lines in this scene,<br />
in each instance suggest a reason for the use <strong>of</strong> rhyme.<br />
SCENK III<br />
1. 1. Gaoler. Why has Antonio been allowed to walk forth<br />
with his gaoler (pronounced jailer^ ?<br />
1. 3. yet. At least.<br />
1. 6. dog. Where at least twice before in the play have we<br />
heard this epithet given to Shylock ?<br />
1. 9. naughty. Worthless, good for naught. Naughty had<br />
in Shakespeare's time a stronger meaning than it has to-day.<br />
1. 9. fond. See IL, ix., 27.<br />
1. 18. impenetrable. Not to be moved, relentless.<br />
19. kept. Lived.<br />
1. 22. deliver'd. Released.<br />
1.27. commodity. Convenience (<strong>of</strong> trade, etc). How<br />
differently used in I., i., 178 ?<br />
L 28. it. Does this refer to commodity^ or to course <strong>of</strong> law f
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