The Merchant of Venice

The Merchant of Venice is a 16th-century play written by William Shakespeare in which a merchant in Venice (Antonio) must default on a large loan provided by a Jewish moneylender, Shylock. It is believed to have been written between 1596 and 1599. Though classified as a comedy in the First Folio and sharing certain aspects with Shakespeare's other romantic comedies, the play is most remembered for its dramatic scenes, and it is best known for Shylock and the famous "Hath not a Jew eyes?" speech on humanity. Also notable is Portia's speech about "the quality of mercy". Critic Harold Bloom listed it among Shakespeare's great comedies.[1]

The Merchant of Venice
Title page of the first quarto for the Merchant of Venice (1600)
Title page of the first quarto (1600)


  • Antonio – a prominent merchant of Venice in a melancholic mood.
  • Bassanio – Antonio's close friend; suitor to Portia; later the husband of Portia
  • Gratiano – friend of Antonio and Bassanio; in love with Nerissa; later the husband of Nerissa
  • Lorenzo – friend of Antonio and Bassanio; in love with Jessica; later the husband of Jessica
  • Portia – a rich heiress; later the wife of Bassanio
  • Nerissa – Portia's waiting maid – in love with Gratiano; later the wife of Gratiano; disguises herself as Portia's clerk
  • Balthazar – Portia's servant
  • Stephano - Portia's servant
  • Shylock – a miserly Jew; moneylender; father of Jessica
  • Jessica – daughter of Shylock, later the wife of Lorenzo
  • Tubal – a Jew; friend of Shylock
  • Launcelot Gobbo – servant of Shylock; later a servant of Bassanio; son of Old Gobbo
  • Old Gobbo – blind father of Launcelot
  • Leonardo – slave to Bassanio
  • Duke of Venice – authority who presides over the case of Shylock's bond
  • Prince of Morocco – suitor to Portia
  • Prince of Aragon – suitor to Portia
  • Salarino and Salanio (also known as Solanio) – friends of Antonio and Bassanio[2]
  • Salerio – a messenger from Venice; friend of Antonio, Bassanio and others[2]
  • Magnificoes of Venice, officers of the Court of Justice, gaoler, servants to Portia, and other attendants and Doctor Bellario, cousin of Portia

Plot summary

Gilbert's Shylock After the Trial, an illustration to The Merchant of Venice.

Bassanio, a young Venetian of noble rank, wishes to woo the beautiful and wealthy heiress Portia of Belmont. Having squandered his estate, he needs 3,000 ducats to subsidise his expenditures as a suitor. Bassanio approaches his friend Antonio, a wealthy merchant of Venice who has previously and repeatedly bailed him out. Antonio agrees, but since he is cash-poor – his ships and merchandise are busy at sea to Tripolis, the Indies, Mexico and England – he promises to cover a bond if Bassanio can find a lender, so Bassanio turns to the Jewish moneylender Shylock and names Antonio as the loan's guarantor.

Antonio has already antagonized Shylock through his outspoken antisemitism and because Antonio's habit of lending money without interest forces Shylock to charge lower rates. Shylock is at first reluctant to grant the loan, citing abuse he has suffered at Antonio's hand. He finally agrees to lend the sum to Bassanio without interest upon one condition: if Antonio is unable to repay it at the specified date, Shylock may take a pound of Antonio's flesh. Bassanio does not want Antonio to accept such a risky condition; Antonio is surprised by what he sees as the moneylender's generosity (no "usance" – interest – is asked for), and he signs the contract. With money in hand, Bassanio leaves for Belmont with his friend Gratiano, who has asked to accompany him. Gratiano is a likeable young man, but he is often flippant, overly talkative, and tactless. Bassanio warns his companion to exercise self-control, and the two leave for Belmont.

Meanwhile, in Belmont, Portia is awash with suitors. Her father left a will stipulating that each of her suitors must choose correctly from one of three caskets, made of gold, silver and lead respectively. Whoever picks the right casket wins Portia's hand. The first suitor, the Prince of Morocco, chooses the gold casket, interpreting its slogan, "Who chooseth me shall gain what many men desire", as referring to Portia. The second suitor, the conceited Prince of Aragon, chooses the silver casket, which proclaims, "Who chooseth me shall get as much as he deserves", as he believes he is full of merit. Both suitors leave empty-handed, having rejected the lead casket because of the baseness of its material and the uninviting nature of its slogan, "Who chooseth me must give and hazard all he hath". The last suitor is Bassanio, whom Portia wishes to succeed, having met him before. As Bassanio ponders his choice, members of Portia's household sing a song that says that "fancy" (not true love) is "engend'red in the eyes, / With gazing fed";[3] Bassanio chooses the lead casket and wins Portia's hand.

Shakespeare's Heroines - Jessica
A depiction of Jessica, from The Graphic Gallery of Shakespeare's Heroines

At Venice, Antonio's ships are reported lost at sea, so the merchant cannot repay the bond. Shylock has become more determined to exact revenge from Christians because his daughter Jessica eloped with the Christian Lorenzo and converted. She took a substantial amount of Shylock's wealth with her, as well as a turquoise ring which Shylock had been given by his late wife, Leah. Shylock has Antonio brought before court.

At Belmont, Bassanio receives a letter telling him that Antonio has been unable to repay the loan from Shylock. Portia and Bassanio marry, as do Gratiano and Portia's handmaid Nerissa. Bassanio and Gratiano leave for Venice, with money from Portia, to save Antonio's life by offering the money to Shylock. Unknown to Bassanio and Gratiano, Portia sent her servant, Balthazar, to seek the counsel of Portia's cousin, Bellario, a lawyer, at Padua.

The climax of the play is set in the court of the Duke of Venice. Shylock refuses Bassanio's offer of 6,000 ducats, twice the amount of the loan. He demands his pound of flesh from Antonio. The Duke, wishing to save Antonio but unable to nullify a contract, refers the case to a visitor. He identifies himself as Balthasar, a young male "doctor of the law", bearing a letter of recommendation to the Duke from the learned lawyer Bellario. The doctor is Portia in disguise, and the law clerk who accompanies her is Nerissa, also disguised as a man. As Balthasar, Portia repeatedly asks Shylock to show mercy in a famous speech, advising him that mercy "is twice blest: It blesseth him that gives and him that takes" (IV, i, 185). However, Shylock adamantly refuses any compensations and insists on the pound of flesh.

As the court grants Shylock his bond and Antonio prepares for Shylock's knife, Portia deftly appropriates Shylock's argument for "specific performance". She says that the contract allows Shylock to remove only the flesh, not the blood, of Antonio (see quibble). Thus, if Shylock were to shed any drop of Antonio's blood, his "lands and goods" would be forfeited under Venetian laws. She tells him that he must cut precisely one pound of flesh, no more, no less; she advises him that "if the scale do turn, But in the estimation of a hair, Thou diest and all thy goods are confiscate."

Defeated, Shylock consents to accept Bassanio's offer of money for the defaulted bond: first his offer to pay "the bond thrice", which Portia rebuffs, telling him to take his bond, and then merely the principal; but Portia also prevents him from doing this, on the ground that he has already refused it "in the open court". She cites a law under which Shylock, as a Jew and therefore an "alien", having attempted to take the life of a citizen, has forfeited his property, half to the government and half to Antonio, leaving his life at the mercy of the Duke. The Duke spares Shylock's life. Antonio asks for his share "in use" until Shylock's death, when the principal will be given to Lorenzo and Jessica. At Antonio's request, the Duke grants remission of the state's half share of the forfeiture, but on the condition that Shylock convert to Christianity and bequeath his entire estate to Lorenzo and Jessica (IV,i).

Bassanio does not recognise his disguised wife, but offers to give a present to the supposed lawyer. First she declines, but after he insists, Portia requests his ring and Antonio's gloves. Antonio parts with his gloves without a second thought, but Bassanio gives the ring only after much persuasion from Antonio, as earlier in the play he promised his wife never to lose, sell or give it. Nerissa, as the lawyer's clerk, succeeds in likewise retrieving her ring from Gratiano, who does not see through her disguise.

At Belmont, Portia and Nerissa taunt and pretend to accuse their husbands before revealing they were really the lawyer and his clerk in disguise (V). After all the other characters make amends, Antonio learns from Portia that three of his ships were not stranded and have returned safely after all.


Il Pecorone
The title page from a 1565 printing of Giovanni Fiorentino's 14th-century tale Il Pecorone
Second Folio Title Page of the Merchant of Venice
The first page of The Merchant of Venice, printed in the Second Folio of 1632

The forfeit of a merchant's deadly bond after standing surety for a friend's loan was a common tale in England in the late 16th century.[4] In addition, the test of the suitors at Belmont, the merchant's rescue from the "pound of flesh" penalty by his friend's new wife disguised as a lawyer, and her demand for the betrothal ring in payment are all elements present in the 14th-century tale Il Pecorone by Giovanni Fiorentino, which was published in Milan in 1558.[5] Elements of the trial scene are also found in The Orator by Alexandre Sylvane, published in translation in 1596.[4] The story of the three caskets can be found in Gesta Romanorum, a collection of tales probably compiled at the end of the 13th century.[6]

Date and text

The date of composition of The Merchant of Venice is believed to be between 1596 and 1598. The play was mentioned by Francis Meres in 1598, so it must have been familiar on the stage by that date. The title page of the first edition in 1600 states that it had been performed "divers times" by that date. Salerino's reference to his ship the Andrew (I,i,27) is thought to be an allusion to the Spanish ship St. Andrew, captured by the English at Cádiz in 1596. A date of 1596–97 is considered consistent with the play's style.

The play was entered in the Register of the Stationers Company, the method at that time of obtaining copyright for a new play, by James Roberts on 22 July 1598 under the title The Merchant of Venice, otherwise called The Jew of Venice. On 28 October 1600 Roberts transferred his right to the play to the stationer Thomas Heyes; Heyes published the first quarto before the end of the year. It was printed again in 1619, as part of William Jaggard's so-called False Folio. (Later, Thomas Heyes' son and heir Laurence Heyes asked for and was granted a confirmation of his right to the play, on 8 July 1619.) The 1600 edition is generally regarded as being accurate and reliable. It is the basis of the text published in the 1623 First Folio, which adds a number of stage directions, mainly musical cues.[7]


Shylock and the antisemitism debate

The play is frequently staged today, but is potentially troubling to modern audiences because of its central themes, which can easily appear antisemitic. Critics today still continue to argue over the play's stance on the Jews and Judaism.

Maurycy Gottlieb - Shylock e jessica
Shylock and Jessica (1876) by Maurycy Gottlieb.

Shylock as a villain

English society in the Elizabethan era has been described as "judeophobic".[8] English Jews had been expelled under Edward I in 1290 and were not permitted to return until 1656 under the rule of Oliver Cromwell. In Venice and in some other places, Jews were required to wear a red hat at all times in public to make sure that they were easily identified, and had to live in a ghetto protected by Christian guards.[9]

Shakespeare's play may be seen as a continuation of this tradition.[10] The title page of the Quarto indicates that the play was sometimes known as The Jew of Venice in its day, which suggests that it was seen as similar to Marlowe's The Jew of Malta. One interpretation of the play's structure is that Shakespeare meant to contrast the mercy of the main Christian characters with the vengefulness of a Jew, who lacks the religious grace to comprehend mercy. Similarly, it is possible that Shakespeare meant Shylock's forced conversion to Christianity to be a "happy ending" for the character, as, to a Christian audience, it saves his soul and allows him to enter Heaven.[11]

Regardless of what Shakespeare's authorial intent may have been, the play has been made use of by antisemites throughout the play's history. The Nazis used the usurious Shylock for their propaganda. Shortly after Kristallnacht in 1938, The Merchant of Venice was broadcast for propagandistic ends over the German airwaves. Productions of the play followed in Lübeck (1938), Berlin (1940), and elsewhere within the Nazi territory.[12]

In a series of articles called Observer, first published in 1785, British playwright Richard Cumberland created a character named Abraham Abrahams, who is quoted as saying, "I verily believe the odious character of Shylock has brought little less persecution upon us, poor scattered sons of Abraham, than the Inquisition itself."[13] Cumberland later wrote a successful play, The Jew (1794), in which his title character, Sheva, is portrayed sympathetically, as both a kindhearted and generous man. This was the first known attempt by a dramatist to reverse the negative stereotype that Shylock personified.[14]

The depiction of Jews in literature throughout the centuries bears the close imprint of Shylock. With slight variations much of English literature up until the 20th century depicts the Jew as "a monied, cruel, lecherous, avaricious outsider tolerated only because of his golden hoard".[15]

Shylock as a sympathetic character

Portia and Shylock (Sully, 1835)
Shylock and Portia (1835) by Thomas Sully.

Many modern readers and theatregoers have read the play as a plea for tolerance, noting that Shylock is a sympathetic character. They cite as evidence that Shylock's "trial" at the end of the play is a mockery of justice, with Portia acting as a judge when she has no right to do so. The characters who berated Shylock for dishonesty resort to trickery in order to win. In addition, Shakespeare gives Shylock one of his most eloquent speeches:

Salerio. Why, I am sure, if he forfeit, thou wilt not take his flesh. What's that good for?
Shylock. To bait fish withal; if it will feed nothing else, it will feed my revenge. He hath disgraced me and hindered me half a million, laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies – and what's his reason? I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villainy you teach me, I will execute, and it shall go hard but I will better the instruction.

— Act III, scene I

It is difficult to know whether the sympathetic reading of Shylock is entirely due to changing sensibilities among readers—or whether Shakespeare, a writer who created complex, multi-faceted characters, deliberately intended this reading.

One of the reasons for this interpretation is that Shylock's painful status in Venetian society is emphasised. To some critics, Shylock's celebrated "Hath not a Jew eyes?" speech redeems him and even makes him into something of a tragic figure; in the speech, Shylock argues that he is no different from the Christian characters.[16] Detractors note that Shylock ends the speech with a tone of revenge: "if you wrong us, shall we not revenge?" Those who see the speech as sympathetic point out that Shylock says he learned the desire for revenge from the Christian characters: "If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villainy you teach me, I will execute, and it shall go hard but I will better the instruction."

Even if Shakespeare did not intend the play to be read this way, the fact that it retains its power on stage for audiences who may perceive its central conflicts in radically different terms is an illustration of the subtlety of Shakespeare's characterisations.[17] In the trial Shylock represents what Elizabethan Christians believed to be the Jewish desire for "justice", contrasted with their obviously superior Christian value of mercy. The Christians in the courtroom urge Shylock to love his enemies, although they themselves have failed in the past. Jewish critic Harold Bloom suggests that, although the play gives merit to both cases, the portraits are not even-handed: "Shylock's shrewd indictment of Christian hypocrisy delights us, but … Shakespeare’s intimations do not alleviate the savagery of his portrait of the Jew…"[18]

Charles Buchel Sir Herbert Beerbohm Tree as Shakespeare s Shylock
Sir Herbert Beerbohm Tree as Shylock, painted by Charles Buchel (1895–1935).

Antonio, Bassanio

Antonio's unexplained depression – "In sooth I know not why I am so sad" – and utter devotion to Bassanio has led some critics to theorise that he is suffering from unrequited love for Bassanio and is depressed because Bassanio is coming to an age where he will marry a woman. In his plays and poetry Shakespeare often depicted strong male bonds of varying homosociality, which has led some critics to infer that Bassanio returns Antonio's affections despite his obligation to marry:[19]

ANTONIO: Commend me to your honourable wife:
Tell her the process of Antonio's end,
Say how I lov'd you, speak me fair in death;
And, when the tale is told, bid her be judge
Whether Bassanio had not once a love.

BASSANIO: But life itself, my wife, and all the world
Are not with me esteemed above thy life;
I would lose all, ay, sacrifice them all
Here to this devil, to deliver you. (IV,i)

In his essay "Brothers and Others", published in The Dyer's Hand, W. H. Auden describes Antonio as "a man whose emotional life, though his conduct may be chaste, is concentrated upon a member of his own sex." Antonio's feelings for Bassanio are likened to a couplet from Shakespeare's Sonnets: "But since she pricked thee out for women's pleasure,/ Mine be thy love, and my love's use their treasure." Antonio, says Auden, embodies the words on Portia's leaden casket: "Who chooseth me, must give and hazard all he hath." Antonio has taken this potentially fatal turn because he despairs, not only over the loss of Bassanio in marriage but also because Bassanio cannot requite what Antonio feels for him. Antonio's frustrated devotion is a form of idolatry: the right to live is yielded for the sake of the loved one. There is one other such idolator in the play: Shylock himself. "Shylock, however unintentionally, did, in fact, hazard all for the sake of destroying the enemy he hated, and Antonio, however unthinkingly he signed the bond, hazarded all to secure the happiness of the man he loved." Both Antonio and Shylock, agreeing to put Antonio's life at a forfeit, stand outside the normal bounds of society. There was, states Auden, a traditional "association of sodomy with usury", reaching back at least as far as Dante, with which Shakespeare was likely familiar. (Auden sees the theme of usury in the play as a comment on human relations in a mercantile society.)

Other interpreters of the play regard Auden's conception of Antonio's sexual desire for Bassanio as questionable. Michael Radford, director of the 2004 film version starring Al Pacino, explained that, although the film contains a scene where Antonio and Bassanio actually kiss, the friendship between the two is platonic, in line with the prevailing view of male friendship at the time. Jeremy Irons, in an interview, concurs with the director's view and states that he did not "play Antonio as gay". Joseph Fiennes, however, who plays Bassanio, encouraged a homoerotic interpretation and, in fact, surprised Irons with the kiss on set, which was filmed in one take. Fiennes defended his choice, saying "I would never invent something before doing my detective work in the text. If you look at the choice of language … you'll read very sensuous language. That's the key for me in the relationship. The great thing about Shakespeare and why he's so difficult to pin down is his ambiguity. He's not saying they're gay or they're straight, he's leaving it up to his actors. I feel there has to be a great love between the two characters … there's great attraction. I don't think they have slept together but that's for the audience to decide."[20]

Drury Lane Playbill of the Merchant of Venice
The playbill from a 1741 production at the Theatre Royal of Drury Lane.

Performance history

The earliest performance of which a record has survived was held at the court of King James in the spring of 1605, followed by a second performance a few days later, but there is no record of any further performances in the 17th century.[21] In 1701, George Granville staged a successful adaptation, titled The Jew of Venice, with Thomas Betterton as Bassanio. This version (which featured a masque) was popular, and was acted for the next forty years. Granville cut the clownish Gobbos[22] in line with neoclassical decorum; he added a jail scene between Shylock and Antonio, and a more extended scene of toasting at a banquet scene. Thomas Doggett was Shylock, playing the role comically, perhaps even farcically. Rowe expressed doubts about this interpretation as early as 1709; Doggett's success in the role meant that later productions would feature the troupe clown as Shylock.

In 1741, Charles Macklin returned to the original text in a very successful production at Drury Lane, paving the way for Edmund Kean seventy years later (see below).[23]

Arthur Sullivan wrote incidental music for the play in 1871.[24]

Edmund Kean as Shylock
A print of Edmund Kean as Shylock in an early 19th-century performance.

Shylock on stage

Jewish actor Jacob Adler and others report that the tradition of playing Shylock sympathetically began in the first half of the 19th century with Edmund Kean,[25] and that previously the role had been played "by a comedian as a repulsive clown or, alternatively, as a monster of unrelieved evil." Kean's Shylock established his reputation as an actor.[26]

From Kean's time forward, all of the actors who have famously played the role, with the exception of Edwin Booth, who played Shylock as a simple villain, have chosen a sympathetic approach to the character; even Booth's father, Junius Brutus Booth, played the role sympathetically. Henry Irving's portrayal of an aristocratic, proud Shylock (first seen at the Lyceum in 1879, with Portia played by Ellen Terry) has been called "the summit of his career".[27] Jacob Adler was the most notable of the early 20th century: Adler played the role in Yiddish-language translation, first in Manhattan's Yiddish Theater District in the Lower East Side, and later on Broadway, where, to great acclaim, he performed the role in Yiddish in an otherwise English-language production.[28]

Kean and Irving presented a Shylock justified in wanting his revenge; Adler's Shylock evolved over the years he played the role, first as a stock Shakespearean villain, then as a man whose better nature was overcome by a desire for revenge, and finally as a man who operated not from revenge but from pride. In a 1902 interview with Theater magazine, Adler pointed out that Shylock is a wealthy man, "rich enough to forgo the interest on three thousand ducats" and that Antonio is "far from the chivalrous gentleman he is made to appear. He has insulted the Jew and spat on him, yet he comes with hypocritical politeness to borrow money of him." Shylock's fatal flaw is to depend on the law, but "would he not walk out of that courtroom head erect, the very apotheosis of defiant hatred and scorn?"[29]

Some modern productions take further pains to show the sources of Shylock's thirst for vengeance. For instance, in the 2004 film adaptation directed by Michael Radford and starring Al Pacino as Shylock, the film begins with text and a montage of how Venetian Jews are cruelly abused by bigoted Christians. One of the last shots of the film also brings attention to the fact that, as a convert, Shylock would have been cast out of the Jewish community in Venice, no longer allowed to live in the ghetto. Another interpretation of Shylock and a vision of how "must he be acted" appears at the conclusion of the autobiography of Alexander Granach, a noted Jewish stage and film actor in Weimar Germany (and later in Hollywood and on Broadway).[30]

Adaptations and cultural references

The play has inspired many adaptions and several works of fiction.

Film, TV and radio versions


Cultural references

Edmond Haraucourt, French playwright and poet, was commissioned in the 1880s by the actor and theatrical director Paul Porel to make a French-verse adaptation of The Merchant of Venice. His play Shylock, first performed at the Théâtre de l'Odéon in December 1889, had incidental music by the French composer Gabriel Fauré, later incorporated into an orchestral suite of the same name.[53]

Ralph Vaughan Williams' choral work Serenade to Music (1938) draws its text from the discussion about music and the music of the spheres in Act V, scene 1.[54]

In both versions of the comic film To Be or Not to Be (1942 and 1983) the character "Greenberg", specified as a Jew in the later version, gives a recitation of the "Hath Not a Jew eyes?" speech to Nazi soldiers.[55]

The rock musical Fire Angel was based on the story of the play, with the scene changed to the Little Italy district of New York. It was performed in Edinburgh in 1974 and in a revised form at Her Majesty's Theatre, London, in 1977. Braham Murray directed.[56][57]

Arnold Wesker's play The Merchant (1976) is a reimagening of Shakespeare's story.[58] In this retelling, Shylock and Antonio are friends and share a disdain for the crass anti-Semitism of the Christian community's laws.[59]

David Henry Wilson's play Shylock's Revenge, was first produced at the University of Hamburg in 1989, and follows the events in The Merchant of Venice. In this play Shylock gets his wealth back and becomes a Jew again.[60]

The Star Trek franchise sometimes quote and paraphrase Shakespeare, including The Merchant of Venice. One example is the Shakespeare-aficionado Chang in Star Trek VI: The Undiscovered Country (1991), a Klingon, who quotes Shylock.[61]

Steven Spielberg's Schindler's List (1993) depicts SS Lieutenant Amon Göth quoting Shylock's "Hath Not a Jew eyes?" speech when deciding whether or not to rape his Jewish maid.[62]

In David Fincher's 1995 crime thriller Seven, a lawyer, Eli Gould, is coerced to remove a pound of his own flesh and place it on a scale, alluding to the play.[63]

One of the four short stories comprising Alan Isler's The Bacon Fancier (1999) is also told from Shylock's point of view. In this story, Antonio was a converted Jew.[64]

The Pianist is a 2002 film based on a memoir by Władysław Szpilman. In this film, Henryk Szpilman reads Shylock's "Hath Not a Jew eyes?" speech to his brother Władysław in the Warsaw Ghetto during the Nazi occupation in World War II.[65]

In the 2009 spy comedy OSS 117: Lost in Rio, a speech by the nazi Von Zimmel parodies Shylock's tirade.[66][67]

Christopher Moore combines The Merchant of Venice and Othello in his 2014 comic novel The Serpent of Venice, in which he makes Portia (from The Merchant of Venice) and Desdemona (from Othello) sisters. All of the characters come from those two plays with the exception of Jeff (a monkey); the gigantic simpleton Drool; and Pocket, the Fool, who comes from Moore's earlier novel Fool, based on King Lear.[68]

Naomi Alderman's The Wolf in the Water is a radio-play first broadcast on BBC Radio 3 in 2016. The play continues the story of Shylock's daughter Jessica, who lives in an anti-semitic Venice and practices her Jewish faith in secret. Part of the BBC's Shakespeare Festival, the play also marked that 500 years had passed since the Venetian Ghetto was instituted.[69][70]


  1. ^ Bloom, Harold, ed. (2009). William Shakespeare: Comedies. Infobase Publishing. p. 1. ISBN 1604136316.
  2. ^ a b "The Three Sallies – Salarino, Solanio, and Salerio" (PDF). Retrieved 16 September 2018.
  3. ^ "The Merchant of Venice: Act 3, Scene 2". Retrieved 16 September 2018.
  4. ^ a b Muir, Kenneth (2005). "The Merchant of Venice". Shakespeare's Sources: Comedies and Tragedies. New York: Routledge. p. 49. ISBN 0-415-35269-X.
  5. ^ Bloom (2007: 112–113)
  6. ^ Drakakis 2010, pp. 60–61.
  7. ^ Stanley Wells and Michael Dobson, eds., The Oxford Companion to Shakespeare Oxford University Press, 2001, p. 288.
  8. ^ Philipe Burrin, Nazi Anti-Semitism: From Prejudice to Holocaust. The New Press, 2005, p. 17. ISBN 1-56584-969-8.
  9. ^ "Venice, Italy Jewish History Tour". Retrieved 16 September 2018.
  10. ^ Hales, John W. "Shakespeare and the Jews", The English Review, Vol. IX, 1894.
  11. ^ Beauchamp, Gorman (2011). "Shylock's Conversion" (PDF). Humanitas. 24: 55–92. Retrieved 26 October 2017.
  12. ^ Lecture by James Shapiro: "Shakespeare and the Jews".
  13. ^ Newman, Louis I. (2012). Richard Cumberland: Critic and Friend of the Jews (Classic Reprint). Forgotten Books.
  14. ^ Armin, Robert (2012). Sheva, the Benevolent. Moreclacke Publishing.
  15. ^ David Mirsky, "The Fictive Jew in the Literature of England 1890–1920", in the Samuel K. Mirsky Memorial Volume.
  16. ^ Scott (2002).
  17. ^ Bloom (2007), p. 233.
  18. ^ Bloom (2007), p. 24.
  19. ^ Bloom, Harold (2010). Interpretations: William Shakespeare's The Merchant of Venice. New York: Infobase. p. 27. ISBN 978-1-60413-885-6.
  20. ^ Reuters. "Was the Merchant of Venice gay?", ABC News Online, 29 December 2004. Retrieved on 12 November 2010
  21. ^ Charles Boyce, Encyclopaedia of Shakespeare, New York, Roundtable Press, 1990, p. 420.
  22. ^ Warde, Frederick (1915). The Fools of Shakespeare; an interpretation of their wit, wisdom and personalities. London: McBride, Nast & Company. pp. 103–120. Archived from the original on 2006-02-08. Retrieved 28 April 2015.
  23. ^ F. E. Halliday, A Shakespeare Companion 1564–1964, Baltimore, Penguin, 1964; pp. 261, 311–12. In 2004, the film was released.
  24. ^ Information about Sullivan's incidental music to the play Archived 25 November 2009 at the Wayback Machine at The Gilbert and Sullivan Archive, accessed 31 December 2009
  25. ^ Adler erroneously dates this from 1847 (at which time Kean was already dead); the Cambridge Student Guide to The Merchant of Venice dates Kean's performance to a more likely 1814.
  26. ^ Adler (1999), p. 341.
  27. ^ Wells and Dobson, p. 290.
  28. ^ Adler (1999), pp. 342–44.
  29. ^ Adler (1999), pp. 344–50.
  30. ^ Granach (1945; 2010), pp. 275–9.
  31. ^ Stamp, Shelley (1 May 2015). "Lois Weber in Early Hollywood". Univ of California Press. pp. 46–47. Retrieved 10 October 2018 – via Google Books.
  32. ^ Low, Rachael (13 September 2013). "The History of British Film (Volume 3): The History of the British Film 1914 - 1918". Routledge. p. 84,295. Retrieved 10 October 2018 – via Google Books.
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Further reading

External links

Antonio (The Merchant of Venice)

Antonio is the title character in Shakespeare's The Merchant of Venice. An influential, powerful and wealthy nobleman of Venice, he is a middle-aged man and a merchant by trade who has his financial interests tied up in overseas shipments when the play begins. He is kind, generous, honest and confident, and is loved and revered by all the Christians who know him. His willingness to die for Bassanio is a manifestation of his character. Antonio manifests anti-semitism by cursing and spitting at Shylock (anti-semitism was common in Europe in Shakespeare's days). He is a structural centre of the play.

Jessica (The Merchant of Venice)

Jessica is the daughter of Shylock, a Jewish moneylender, in William Shakespeare's The Merchant of Venice (c. 1598). In the play, she elopes with Lorenzo, a pennyless Christian, and a chest of her father's money, eventually ending up in Portia and Bassanio's household. In the play's dramatic structure, Jessica is a minor but pivotal role. Her actions motivate Shylock's vengeful insistence on his "pound of flesh" from Antonio; her relationships with Lorenzo and Shylock serves as a mirror and contrast to Portia's with Bassanio and with her father; her conversion to Christianity is the end of Shylock's line's adherence to the Jewish faith.

Literary critics have historically viewed the character negatively, highlighting her theft of her father's gold, her betrayal of his trust, and apparently selfish motivations and aimless behaviour. Since the end of the 20th century their views have been more moderate and nuanced, pointing to an alternate reading that allows her actions to be motivated by love and generosity, and being driven by Shylock's own tyrannical and immoral behaviour.

Le marchand de Venise

Le Marchand de Venise (The Merchant of Venice) is a French opera in three acts by Reynaldo Hahn. The libretto was by Miguel Zamacoïs, after Shakespeare's The Merchant of Venice. Hahn first started working on the opera during the First World War, imagining it as a 'Mozartian' work, with the role of Portia written specifically with the soprano Mary Garden in mind.

The opera was first performed at the Paris Opéra, on 25 March 1935. It was revived at the Opéra on 18 November 1949 and again on 19 February 1950, and in 1979 at the Opéra-Comique under Manuel Rosenthal. The United States premiere was by the Portland Opera on 4 November 1996 under French conductor Marc Trautmann. In May 2017 the opera received its German premiere at the Theater Bielefeld in a production by Klaus Hemmerle conducted by Pawel Poplawski.

Portia (The Merchant of Venice)

Portia is the protagonist of William Shakespeare's The Merchant of Venice. A rich, beautiful, and intelligent heiress of Belmont, she is bound by the lottery set forth in her father's will, which gives potential suitors the chance to choose among three caskets. If he chooses the right casket, he wins Portia's hand in marriage. If he chooses the incorrect casket, he must leave and never seek another woman in marriage. She is said to be blonde and has curly hair. As Bassanio says to Antonio in (Act I scene I), she is more beautiful than the word itself. She says that she will rather accept The Prince of Morocco as her religious adviser than her husband because of his dark complexion, which she refers as that of The Devil. She favours a young Venetian noble, soldier and a scholar, Bassanio. Later in the play, she disguises herself as a man, then assumes the role of a lawyer's apprentice (named Balthazar) whereby she saves the life of Bassanio's friend, Antonio, in court.

Portia is also fond of wordplay and proverbs, frequently quoting and coining them, which was considered a sign of wisdom and sharp wit in Elizabethan era. Some suggest that the character of Portia was based on queen Elizabeth herself, who also had a penchant for proverbs.

Rainbow Prelude

Rainbow Prelude (虹のプレリュード, Niji no Pureryuudo) is a manga by Osamu Tezuka, and also the name of one of his books in Kodansha's line of "Osamu Tezuka Manga Complete Works" books, contains a collection of Tezuka's short stories. The stories included in the book are "Rainbow Prelude", "The Curtain is Still Blue Tonight", a manga version of Shakespeare's "The Merchant of Venice", "Peacock Shell", and "Song of the White Peacock".

Serenade to Music

Serenade to Music is a work by Ralph Vaughan Williams for 16 vocal soloists and orchestra, composed in 1938. The text is an adaptation of the discussion about music and the music of the spheres in Act V, Scene 1 of The Merchant of Venice by William Shakespeare. Vaughan Williams later arranged the piece into versions for chorus and orchestra and solo violin and orchestra. It is approximately 13 minutes in duration.


Shylock is a character in William Shakespeare's play The Merchant of Venice (c. 1600). A Venetian Jewish moneylender, Shylock is the play's principal antagonist. His defeat and conversion to Christianity form the climax of the story.

Susannah Fielding

Susannah Glanville-Hearson (born 10 June 1985), known professionally as Susannah Fielding is an English actress who has worked in theatre, film, television and radio. She won the 2014 Ian Charleson Award for her portrayal of Portia in The Merchant of Venice at the Almeida Theatre. She also starred in the CBS sitcom The Great Indoors. In 2019, she co-stars with Steve Coogan in This Time with Alan Partridge.

The Jew of Malta

The Jew of Malta (full title: The Famous Tragedy of the Rich Jew of Malta) is a play by Christopher Marlowe, written in 1589 or 1590. The plot primarily revolves around a Maltese Jewish merchant named Barabas. The original story combines religious conflict, intrigue, and revenge, set against a backdrop of the struggle for supremacy between Spain and the Ottoman Empire in the Mediterranean that takes place on the island of Malta. There has been extensive debate about the play's portrayal of Jews and how Elizabethan audiences would have viewed it.

The Maori Merchant of Venice

The Maori Merchant of Venice (Māori: Te Tangata Whai Rawa o Weniti) is a 2002 New Zealand drama film in the Māori language (with English subtitles), directed by Don Selwyn.

The Merchant of Venice (1914 film)

The Merchant of Venice is a lost 1914 American silent film historical drama based on William Shakespeare's play. It was directed by and starred Phillips Smalley and Lois Weber, a husband and wife directing team. It was produced and distributed by Universal Film Manufacturing Company.

The Merchant of Venice (1916 film)

The Merchant of Venice is a 1916 British silent drama film directed by Walter West and starring Matheson Lang, Hutin Britton, Ernest Caselli. It is an adaptation of William Shakespeare's play The Merchant of Venice.

The Merchant of Venice (1923 film)

The Merchant of Venice (German: Der Kaufmann von Venedig) is a 1923 German silent drama film directed by Peter Paul Felner and starring Werner Krauss, Henny Porten and Harry Liedtke. The film is an adaptation of William Shakespeare's play The Merchant of Venice. It was released in the United States in 1926 as The Jew of Mestri. The film was made on location in Venice, with scenes and characters added which were not in the original play. This is the surviving copy, being two reels shorter than the German version. The characters in the German retained Shakespeare’s nomenclature, but in the American they were given new names sourced from the Italian work Il Pecorone, a 14th-century short story collection attributed to Giovanni Fiorentino, from which Shakespeare is believed to have drawn his idea. The film purports to be a return to the original, as an excuse for its differences from the play.

The Merchant of Venice (1961 film)

The Merchant of Venice is a 1961 Australian TV adaptation of the play by William Shakespeare.

The Merchant of Venice (1969 film)

The Merchant of Venice is a 1969 drama short film directed by Orson Welles based on William Shakespeare's play of the same name. While actually completed, it is frequently cited as an unfinished film, though better described as a partially lost film due to the loss of film elements.

The Merchant of Venice (2004 film)

The Merchant of Venice is a 2004 romantic drama film based on Shakespeare's play of the same name. It is the first full-length sound film in English of Shakespeare's play—other versions are videotaped productions which were made for television, including John Sichel's 1973 version and Jack Gold's 1980 BBC production.

The title character is the merchant Antonio (Jeremy Irons), not the Jewish moneylender Shylock (Al Pacino) who is the more prominent character. This adaptation follows the text, but omits much. Director Michael Radford believed that Shylock was Shakespeare's first great tragic hero who reaches a catastrophe due to his own flaws. The film begins with text and a montage of how the Jewish community is abused by the Christian population of Venice and brings attention to the fact that, as a convert, Shylock would have been cast out of the Jewish ghetto in Venice.

The film is a co-production between the United Kingdom, Italy, and Luxembourg.

The Merchant of Venice (opera)

The Merchant of Venice is an opera by André Tchaikowsky (1935–1982) to a libretto, based on the Shakespeare play, by John O'Brien. Written between 1968 and 1982, it was first performed in 2013 at the Bregenz Festival. The British premiere was presented by the Welsh National Opera in September 2016.

The quality of mercy (Shakespeare quote)

"The quality of mercy" is a quote by Portia in William Shakespeare's The Merchant of Venice; it occurs during Act 4, Scene 1, set in a Venetian Court of Justice. It is the speech in which Portia begs Shylock for mercy. The speech is regarded as one of the great speeches in Shakespeare, and it is an example of the esteem Shakespeare held for those who showed mercy.

Yasser (play)

Yasser is a play by Moroccan-born Dutch novelist, playwright and journalist Abdelkader Benali. It was written in 2001, and describes the challenges and adversities faced by a Palestinian actor in playing the role of Shylock in Shakespeare's The Merchant of Venice.

William Shakespeare's The Merchant of Venice
On screen
Derivative works
and works

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