The Merchant of Venice (Shakespeare, 1596-98)

Setting: Italy.

Act One
Scene 1: Venetian street. Accompanied by his friends Salarino and Salanio, Antonio reflects on not knowing the cause of his sadness. His friends suggest that he is distracted by the thoughts of his ships at sea and will not be easy until they have arrived in port, but he denies this – so Salarino suggests that he is in love. Antonio denies this too. Antonio’s cousin Bassanio enters with Lorenzo and Gratiano, and so Salarino and Salanio leave them to cheer Antonio up. Lorenzo and Gratiano agree to meet Bassanio at dinner later, and leave, although not before commenting on how gloomy Antonio looks. Alone, Bassanio confesses his money woes to Antonio, and goes on to tell him about his love for the beautiful Portia, who lives in Belmont and is courted by many men. Antonio can offer him no more money, but sends him to Belmont and tells him to use him as a guarantor to get money.
Scene 2: Portia’s house, Belmont. Portia explains to her maid Nerissa that she is tired of life, but Nerissa points out her many fortunes. Portia is frustrated because her late father’s will stipulates that she may only marry a man who chooses correctly from three chests of gold, silver, and lead. She is not delighted by the prospect of any of her suitors: a Neopolitan prince obsessed with horses; a county Palatine who is very severe; a French lord who is very boastful; Baron Faulconbridge who is nice but speaks none of the same languages as Portia; a Scottish lord who spends all his time fighting the English baron; and a young German man who is an unpleasant drunkard. Nerissa reassures her that none of these men want any part of the contest, much to Portia’s relief – but that means that she must remain unmarried. Nerissa reminds her of Bassiano, and Portia admits that she was fond of him. They are interrupted by a servant, who comes with news that four strangers wish to take their leave of Portia, and a fifth comes with news that a Moroccan prince will be there that evening. Portia is unenthusiastic but resigned.
Scene 3: A public place in Venice. Bassanio has asked Shylock to lend him three thousand ducats for three months, using Antonio as his guarantor. Shylock ponders the offer, then accepts, but wants to meet with Antonio first. Bassanio invites him to eat with them but Shylock scornfully declines: “Yes, to smell pork; to eat of the habitation which your prophet, the Nazarite, conjured the devil into: I will buy with you, sell with you, talk with you, walk with you, and so following; but I will not eat with you, drink with you, nor pray with you.” Antonio enters and Shylock reflects on how he hates him for being a Christian and for his freedom with lending money, thus driving down the usury rates. Antonio and Shylock agree on the terms of the loan, but due to the past slights that Shylock has received from Antonio, he has a strange stipulation: if Antonio fails to pay, he will permit Shylock to take a pound of his flesh from anywhere on his body. Antonio agrees, confident that he will have ready money soon. They agree to meet at the notary’s to sign the bond and Shylock leaves. Bassanio expresses his concern but Antonio reassures him: his ships come in a day before the debt is sue to be repaid.

Act Two
Scene 1: Portia’s house. The Prince of the Morocco enters with his train and meets Portia, Nerissa, and her attendants. He tells her to overlook his appearance and pleads his bravery; she points out that her marriage is subject to the outcome of her father’s test, but says that if it were entirely up to her, he stands as good a chance as any of her suitors. He thanks her, and they agree that he will take the test after dinner.
Scene 2: Venetian street. Launcelot Gobbo, Shylock’s servant, wonders whether he should leave his master’s service. His old blind father enters and, not recognising him, asks him the way to Shylock’s house. Launcelot decides to play a trick on him and gives him obscure instructions. When Old Gobbo asks if he has seen his son, Launcelot says that he is dead. Old Gobbo is distraught so Launcelot ends the charade; his father is loathe to believe him at first, as Launcelot has changed so much. Bassanio enters with Leonardo and his followers, and Launcelot and Old Gobbo scramble to talk to him. Launcelot eventually declares that he wishes to leave Shylock’s service and become Bassanio’s servant instead, and Bassanio accepts him.
Scene 3: Shylock’s house. Shylock’s daughter Jessica is bidding Launcelot farewell with some regret, as he was the only person who livened up the house. He leaves and, alone, Jessica reflects on her love for Lorenzo and her intention to marry him and become a Christian.
Scene 4: Venetian street. Gratiano, Lorenzo, Salarino, and Salerio enter, with plans to disguise themselves at Lorenzo’s lodgings, but they are interrupted by Launcelot who is carrying a letter. It is a love-letter from Jessica to Lorenzo; Lorenzo bids Launcelot to tell Jessica that he will rescue her. In her letter, Lorenzo then reveals to Gratiano, Jessica has promised to rob her father of all his things so that she can elope with Lorenzo.
Scene 5: Outside Shylock’s house. Shylock is preparing to leave to dine with Bassanio. He gives Jessica his keys, but is stopped by a feeling of foreboding: he has dreamt of money-bags. Launcelot tells him that there will be masques, which horrifies Shylock, who tells Jessica to ensure that the house is locked up. He sends Launcelot off ahead of him – although Launcelot manages to pass on Lorenzo’s message to Jessica – and after bidding his daughter farewell, leaves to join Bassanio.
Scene 6: Outside Shylock’s house. Gratiana and Salarino enter, masked. They are waiting for Lorenzo, who is slow in coming. He arrives at last and Jessica appears above, wearing boy’s clothes. She tosses down a basket of treasure to him, and then joins them below. The couple leave with Salarino, but Gratiano runs into Antonio, who bids him stay at home; the weather has become too bad for a masque.
Scene 7: Portia’s house, Belmont. Portia invites the Moroccan prince to choose from the three caskets. He reads the inscriptions and attempts to puzzle out the correct answer and eventually chooses the golden casket. He has chosen incorrectly! He accepts the judgement with some regret and leaves; privately, Portia expresses her pleasure that he picked the wrong casket.
Scene 8: Venetian street. Salarino and Salanio meet to discuss the scandal: Shylock has discovered that Jessica has escaped with Lorenzo and all of his money. He is now wandering the streets, chased by schoolboys and crying: “My daughter! – O my ducats! – O my daughter! / Fled with a Christian? – O my christian ducats! – / Justice! the law! my ducats! and my daughter!” Salarino and Salerio are amused by what has happened, but reflect that Antonio had better ensure that he keep his bargain with Shylock, who will be feeling especially vengeful now. This reminds Salarino that he has heard a rumour that a Venetian ship has sunk; Salerio advises him to tell Antonio, in case it is his. They leave to break the news to him.
Scene 9: Portia’s house, Belmont. Nerissa enters in a hurry to prepare the room for the Prince of Aragon, who follows close behind with Portia. Portia shows the prince the caskets and tells him the rules. Like the Moroccan prince before him, this new suitor attempts to work out which is the correct casket. He chooses the silver one – and is wrong. He leaves in a huff, and Portia is happy once more. Before she can draw the curtain on the caskets, however, a servant enters with news that a young Venetian is at her gate. Portia agrees to see him, and Nerissa expresses her hope that it is Bassanio’s servant.

Act Three
Scene 1: Venetian street. Salarino and Salerio have confirmed the bad news: it is Antonio’s ship which has sunk. Before they can leave, however, Shylock enters. Shylock is still preoccupied with his daughter’s betrayal; he accuses the two men of knowing about it ahead of time, which they readily admit. Salarino then nervously asks him if he has heard of Antonio having any losses and Shylock says he has. He curses Antonio as another bad bet and Salarino presses him further: will he insist on taking Antonio’s flesh? Shylock will: “He hath disgraced me, and hindered me of 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.” A servant enters to summon Salarino and Salerio to Antonio’s house; then Shylock’s friend Tubal arrives. He has been searching for Jessica and Lorenzo but can only say that they are in Genoa. Shylock is incensed: “The curse never fell upon our nation till now; I never felt it till now:- two thousand ducats in that; and other precious precious jewels.- I would, my daughter were dead at my foot, and the jewels in her ear! ‘would she were hears’d at my foot, and the ducats in her coffin.” Tubal intersperses his news of Jessica’s reckless spending in Genoa with the information about Antonio’s lost fortune, and Shylock vows to have his revenge.
Scene 2: Portia’s house, Belmont. It is Bassanio’s turn to choose from the caskets, but Portia encourages him to take his time in choosing – she enjoys his company, and if he chooses wrong, he will have to leave. Bassanio, however, wants to choose quickly as he is feeling tortured by the uncertainty. Portia accepts this, but commands her musicians to play for him while he chooses. A song plays and Bassanio ponders the deceptiveness of outward appearances. He is drawn to the lead casket, and opens it – revealing Portia’s portrait! He has chosen correctly and gives Portia a kiss. They declare their love for one another, and their happiness. Nerissa and Gratiano wish them joy – and announce their own intention to be married. The celebration is interrupted by the entrance of Lorenzo, Jessica, and Salerio, who have brought a letter to Bassanio from Antonio. They offer up the news that Antonio is not doing well, and the letter explains all. Bassanio tells the group that all of Antonio’s ventures have failed. Salerio adds that Shylock is now insisting on payment – or rather, flesh. Jessica confirms that it is the flesh that her father most wants. Portia immediately insists on paying the full amount, and more if necessary, telling Bassiano that they will marry at once and then he can sail to Venice with the money and then bring Antonio back with him. Bassanio reads Antonio’s letter aloud, and Portia bids him be on his way.
Scene 3: Venetian street. Shylock is taunting Antonio, who is pleading for clemency – but Shylock already has a gaoler. Shylock leaves and Salanio tries to comfort Antonio, telling him that the Duke will never uphold the punishment. Antonio is pessimistic, however: the Duke will never do anything to bend justice, therefore he is resigned to his fate. He allows the gaoler to take him away. The date is set for the pound of flesh to be taken the following day.
Scene 4: Portia’s house, Belmont. Lorenzo compliments Portia on her generosity and goodness, but Portia says that any friend of Bassanio’s is her own friend. She then gives Lorenzo the management of her own household: she and Nerissa are going to a monastery until Bassanio arrives home. They agree, and leave. Portia then summons her servant and gives him a letter to take to her cousin Dr Bellario in Padua. Alone with Nerissa, she then suggests they disguise themselves as boys; Nerissa is unsure, but the two exit to prepare for their journey.
Scene 5: A garden, Belmont. Launcelot and Jessica joke with one another about Jews and Christians. Launcelot enters to join the fun, and leads Jessica off to dinner.

A Midsummer Night’s Dream (Shakespeare, 1595)

Setting: Athens, ancient times.

Act One
Scene 1: Theseus’ palace. Theseus and Hippolyta happily discuss their upcoming wedding. Theseus tells his Master of Revels, Philostrate, to rile up the public to make merry for the celebration. He tells his fiancee: “Hippolyta, I woo’d thee with my sword, / And won thy love, doing thee injuries; / But I will wed thee in another key, / With pomp with triumph and with revelling.” Egeus enters with Hermia, Lysander, Demetrius, and a complaint: he has arranged a marriage between his daughter Hermia and Demetrius, but Hermia has been wooed by Lysander and now refuses to marry anyone else. Although Hermia insists that her love for Lysander is real, Theseus gravely informs her that if she does not follow her father’s will, she will be sent to a nunnery. Hermia stubbornly accepts this, and Theseus tells her that she has until his own wedding day and she must then choose between death, marriage to Demetrius, and the nunnery. Lysander likewise refuses to give Hermia up, and tells Egeus that Demetrius has seduced Helena. Theseus sweeps out to discuss marriage business and most of the others follow, leaving Lysander and Hermia alone. They complain about their plight, but Lysander has a plan: he has a widowed aunt who lives far from the reaches of Athens. If Hermia will agree to meet him in the woods the following night, they can go to his aunt’s house and be married there. Hermia happily agrees, but they are interrupted by the entrance of Helena, who is distraught that Demetrius does not love her and only has eyes for Hermia. Hermia comforts her by telling her all about her and Lysander’s plan. They leave Helena alone, who is still upset – until she has the idea to win favour with Demetrius by telling him about Hermia’s intended flight.
Scene 2: Cottage. The actors have gathered to receive their parts for their play, Pyramus and Thisby. Bottom the weaver has been cast as the tragical lover Pyramus, but he would much rather play a warrior, and is keen to also play the parts of Thisby and the lion. They discuss costuming (Bottom wants to wear an extravagant fake beard), and then Peter Quince, the director, hands out the parts and suggests that they all meet to rehearse in the woods the following night.

Act Two
Scene 1: Woodland. Puck and a Fairy meet and describe their adventures. Puck says that his master, King Oberon, wants Queen Titania’s changeling child (a young Indian prince) for himself, but she refuses to give him up. As a result, the royal couple are arguing. He then discusses all the pranks that he is known to play.
Scene 2: Woodland. Oberon and Titania meet and argue, she refusing to give up her prince. She sweeps off and Oberon calls Puck to him, He tells him about a certain flower that can induce a love-spell, and tells Puck to fetch it for him. Puck leaves, promising to return soon, and Oberon reflects on his plan to make Titania fall in love with the first thing she sees so that he can take the prince from her. Demetrius and Helena enter, and he becomes invisible to watch them. Demetrius is on the trail of Hermia and Lysander and is trying to shake off Helena. She refuses to leave him, telling him that even as he is cruel to her, she loves him. They wander off and Puck returns. Oberon tells Puck to put the juice of the flower in Titania’s eyes while she sleeps, and to do the same with the Athenian youth he has just encountered.
Scene 3: Woodland. Titania’s fairies sing her to sleep. Oberon enters and squeezes the juice from the flower into her eyes and tells her to wake only when a foul beast is near. Lysander and Hermia enter, tired from their night of travelling. They lie down to sleep a little way from one another, for modesty’s sake. Puck enters and assumes that Lysander and Hermia are the couple he has been looking for, so he squeezes the flower’s juice into Lysander’s eyes and leaves. Demetrius and Helena then enter, running, but she cannot keep up with him and so collapses on the ground while he runs off. She laments her fate, but then sees Lysander asleep and wakes him. He sits up – and falls madly in love with her! She assumes that he is making fun of her and leaves; he follows close behind, speaking of his newfound hatred of Hermia. Hermia then awakes from a bad dream. She realises that Lysander is gone and hurries off to look for him.

Act Three
Scene 1: Woodland. The actors gather near to where Titania sleeps. Bottom has many complaints about the play; he is concerned that the ladies will be scared if Pyramus is seen to kill himself, and if they see the lion. These problems are resolved, but new ones appear: how to stage the moonlight and the wall? They decide to use natural moonlight and that they will have a man act the part of the wall. The rehearsal can now begin, but Puck enters and decides to have some fun. After Bottom has made his first speech, he leads him out and replaces his head with that of an ass. He then leads him back to the other actors, who flee in terror. Bottom is deeply insulted and wanders around, singing, and wakes Titania – who is enthralled by him: “What angel wakes me from my flowery bed?” She praises his beauty and wit, demands that he stay with her in the woods, and orders her fairies to treat him well. He introduces himself to them and is led away to Titania’s bower.
Scene 2: Woodland. Oberon asks Puck if Titania has awoken yet, and Puck tells him all about Titania’s passion for Bottom. Oberon is very pleased, and Puck goes on to tell him that he managed to drug the Athenian as well. Demetrius and Hermia enter, her accusing him of murdering Lysander. Demetrius is cagey at first, but then admits that he is no murderer and Lysander is still alive, as far as he knows. She leaves and he lies down to go to sleep, while Oberon realises that Puck has drugged the wrong man and demands that the fairy go and fetch Helena. Puck leaves while Oberon casts a spell to make Demetrius fall in love with Helena when he wakes up, and Puck soon returns with Helena and Lysander following behind. Their arguing awakens Demetrius, who promptly falls in love with Helena. Unfortunately, she believes that he is just conspiring with Lysander to make fun of her. Demetrius and Lysander argue with each other over who deserves Helena, and then Hermia enters. She is startled to find Lysander’s hatred of her, and Helena bitterly accuses her of being in on the joke as well. Demetrius and Lysander continue arguing and eventually agree to fight one another, “to try whose right / Or thine or mine is most in Helena.” Helena also leaves, disgusted with them all, and Hermia pursues her. Oberon angrily blames Puck for this outcome; Puck claims that it is not his fault but admits that he is enjoying the confusion he has caused. Oberon tells him to confuse Demetrius and Lysander in the woods so that they cannot find one another to fight, and once they sleep, to put a potion into Lysander’s eye to set him right. When the lovers awaken, they will think all this has been a dream, and will return to Athens to be married. Oberon, meanwhile, will go to ask Titania to give him her Indian prince, and then break her love-spell. Puck agree but reminds Oberon that this all must be done quickly: it is nearly dawn. Oberon leaves and Lysander enters, searching for Demetrius. Puck imitates Demetrius’s voice to taunt him and Lysander follows him out; Demetrius then enters and Puck pretends to be Lysander. Lysander enters once more, tired, confused, and angry, and so he lies down to sleep. Puck and Demetrius enter; Demetrius is also exhausted and also decides to sleep. Finally, Helena and Hermia enter one after the other and lie down to sleep as well. Puck squeezes the flower juice on Lysander’s eyes and bids him fall in love with Hermia once more.

Act Four
Scene 1: Woodland. Titania bids Bottom sit with her on a bed of flowers. Bottom orders the fairies to fetch him various things and then he and Titania snuggle down to sleep next to one another. Oberon and Puck enter, Oberon admitting that he has begun to feel sorry for her. She has willingly given him the prince, so he now tells Puck to remove the donkey’s head from Puck and send him back to Athens. Oberon himself cures Titania and awakens her. She sees him and is in love once more, telling him that she dreamt that she was in love with an ass. Oberon shows her the sleeping Bottom and she is disgusted. Oberon tells Puck to right Bottom and calls for music. He leads Titania away. Theseus, Hippolyta, and Egeus enter. They encounter the four Athenian lovers and assume they have risen early to observe the May-day rituals. Theseus bids huntsmen wake them with their horns. They wake and Lysander confesses that he and Hermia were fleeing Athens to marry. Egeus is furious and demands that Demetrius join him in pursuing justice – but Demetrius announces that he now loves Helena and considers himslf engaged to her. Theseus announces that he is overruling Egeus’s will and wants the young lovers to marry at the same time as his marriage to Hippolyta. He, Hippolyta, and Egeus leave. Confused, the lovers follow behind. Bottom then wakes up and believes all that has happened to him to be a dream. He leaves, planning to have Quince write him a ballad for the play all about his dreamland adventures.
Scene 2: Quince’s house. Quince asks the other actors if they have heard from Bottom. They haven’t, and the play may have to be cancelled if he is not found as no one else has the skill to play Pyramus. Snug enters with news that more people are to be married. Bottom then arrives; his fellow actors are overjoyed but he insists on hurrying on with the preparations for the play.

Act Five
Scene 1: Theseus’s palace. Theseus, Hippolyta,and Philostrate enter with lords and Attendants. Theseus and Hippolyta puzzle over the story that the young lovers have told them: Theseus doesn’t believe a word of it but Hippolyta doesn’t understand how they could have all told the same story. The other four then enter and Theseus calls for some entertainment. Philostrate shows him the programme – and Theseus rejects everything except for Quince’s play. Philostrate warns him against it, but Theseus is intrigued, especially after he hears that it was prepared especially for the occasion, and insists on seeing it, “For never any thing can be amiss / When simpleness and duty tender it.” The play begins and the audience makes fun of it. Eventually, Theseus cuts off the ending and sends everyone to bed.
Scene 2. Puck enters and reflects upon nighttime being fairy time. Oberon, Titania, and their train enter and sing and dance a blessing upon the three mortal couples.