LANCELET:
“Certainly my conscience will serve me to run from this Jew my master.”
🔍 Meaning: Lancelet is thinking out loud. He says his conscience (inner moral voice) tells him it’s okay to run away from Shylock, his Jewish master.
💡 Technique: Personification—his conscience is treated like a person giving him advice.
🎭 Theme: Conscience vs. temptation; morality vs. self-interest.
“The fiend is at mine elbow and tempts me…”
🔍 He imagines a devil (fiend) whispering in his ear, tempting him to run away.
💡 Technique: Allegory—Lancelet dramatizes the internal conflict between good (conscience) and evil (the fiend).
🎭 Theme: Temptation; the inner struggle between right and wrong.
“…saying to me ‘Gobbo, Lancelet Gobbo, good Lancelet,’ or ‘good Gobbo,’ or ‘good Lancelet Gobbo, use your legs, take the start, run away.’”
🔍 The fiend tries to convince him by flattering him (“good Lancelet”) and telling him to run away.
💡 Repetition of his name builds comedic effect—Lancelet is clearly confused, overthinking.
“My conscience says ‘No. Take heed, honest Lancelet, take heed, honest Gobbo,’…”
🔍 Now his conscience is speaking. It warns him to stay and be “honest.”
💡 Contrast: The conscience says stay; the fiend says go.
🎭 Theme: Loyalty and honesty versus self-preservation.
“or, as aforesaid, ‘honest Lancelet Gobbo, do not run; scorn running with thy heels.’”
🔍 The conscience urges him to despise cowardice, and not to run away with his heels (i.e., don’t be a coward).
💡 Language: Use of formal, moralistic tone for the conscience.
“Well, the most courageous fiend bids me pack. ‘Fie!’ says the fiend. ‘Away!’ says the fiend…”
🔍 The devil is persistent, telling him to go and stop being scared.
💡 Technique: Repetition and direct speech add drama and humor.
“‘For the heavens, rouse up a brave mind,’ says the fiend, ‘and run!’”
🔍 Ironically, the fiend is telling him to be brave by running, which sounds contradictory.
💡 Irony: Bravery is usually associated with facing problems, not fleeing.
“Well, my conscience, hanging about the neck of my heart, says very wisely to me…”
🔍 He describes his conscience as something heavy, resting on his heart, making him feel guilty.
💡 Metaphor: “Hanging about the neck of my heart” shows the emotional weight of guilt.
“‘My honest friend Lancelet, being an honest man’s son’—or rather, an honest woman’s son…”
🔍 He goes off-topic, wondering whether it’s his mother or father who was truly honest. He jokes that his father “had a taste”—possibly implying he wasn’t so honest.
💡 Technique: Comic aside and wordplay—classic Shakespearean clown behavior.
“…my conscience says ‘Lancelet, budge not.’ ‘Budge,’ says the fiend. ‘Budge not,’ says my conscience.”
🔍 “Budge” = move. His internal debate continues. The fiend says go, the conscience says stay.
💡 Rhythm: Repetitive back-and-forth builds a comic tension.
“‘Conscience,’ say I, ‘you counsel well.’ ‘Fiend,’ say I, ‘you counsel well.’”
🔍 He can’t decide—he tells both his conscience and the fiend they give good advice.
💡 Comedy through indecision. Shows Lancelet as foolish but relatable—he doesn’t know what to do.
“To be ruled by my conscience, I should stay with the Jew my master…”
🔍 He knows that if he follows his conscience, he should stay with Shylock, even though he sees him as a bad man.
💡 Tone: Self-aware but also prejudiced (referring to Shylock as “the Jew” repeatedly—reflects antisemitic attitudes of the time).
“…who (God bless the mark) is a kind of devil…”
🔍 He insults Shylock, calling him a “kind of devil,” which reveals his bias.
💡 Technique: Religious language and metaphor (Shylock as the devil).
“…and to run away from the Jew, I should be ruled by the fiend…”
🔍 So either way, he’s following a devil—Shylock or the actual fiend. He sees no good choice.
🎭 Theme: Hypocrisy—he says he wants to do right, but he just wants an excuse to leave.
“…who (saving your reverence) is the devil himself.”
🔍 “Saving your reverence” = excuse me for saying this.
💡 Language: He pretends to be polite while saying something offensive, which adds irony.
“Certainly the Jew is the very devil incarnation…”
🔍 Very harsh insult. Calls Shylock “the devil incarnate.”
💡 Reflects the theme of prejudice. Lancelet’s language shows the Christian vs. Jew tension in the play.
“…and, in my conscience, my conscience is but a kind of hard conscience to offer to counsel me to stay with the Jew.”
🔍 He concludes that his conscience is too strict to expect him to stay with Shylock.
💡 Irony: He’s now criticizing the good advice, showing he’s just looking for a reason to run.
“The fiend gives the more friendly counsel.”
🔍 He says the devil’s advice is more kind, which is ironic—it shows how selfish his motives really are.
💡 Theme: Self-deception; how people justify bad choices.
“I will run, fiend. My heels are at your commandment. I will run.”
🔍 He finally decides to listen to the fiend and run away.
💡 Language: “My heels are at your commandment” is a comic, exaggerated way to say he’s ready to flee.
GOBBO: “Master young man, you, I pray you, which is the way to Master Jew’s?”
- Translation: “Excuse me, young man, can you tell me the way to Master Jew’s house?”
- Analysis: Gobbo is blind and doesn’t recognize his own son. The term “Master Jew” refers to Shylock. Gobbo’s politeness (“I pray you”) shows his lower status and old-fashioned manners.
- Theme: Mistaken identity is introduced here—a classic Shakespearean comedic device.
LANCELET (aside): “O heavens, this is my true begotten father, who being more than sand-blind, high gravel-blind, knows me not. I will try confusions with him.”
- Translation: “Oh my goodness, this is my real father. He’s not just partially blind (sand-blind), he’s extremely blind (gravel-blind), and he doesn’t recognize me. I’m going to mess with him a bit.”
- Analysis:
- Aside: This line is spoken to the audience, not to Gobbo. This is dramatic irony—we know something Gobbo doesn’t.
- Wordplay: “Sand-blind” and “gravel-blind” are funny exaggerations.
- Characterization: Lancelet is mischievous and playful.
- Theme: Parent-child relationships and deception.
GOBBO: “Master young gentleman, I pray you, which is the way to Master Jew’s?”
- Translation: (repeats the question politely)
- Analysis: Shows his persistence and perhaps some confusion, reinforcing his old age and poor sight.
LANCELET: “Turn up on your right hand at the next turning, but at the next turning of all on your left; marry, at the very next turning, turn of no hand, but turn down indirectly to the Jew’s house.”
- Translation: “Take a right at the next corner, then a left at the next one, but then don’t turn left or right—just go sort of crooked, and you’ll get there.”
- Analysis:
- Verbal comedy: He’s deliberately giving confusing directions.
- Technique: Absurdity and misdirection used for humor.
- Characterization: Lancelet is clever and enjoys mocking his father.
GOBBO: “Be God’s sonties, ’twill be a hard way to hit.”
- Translation: “By God, that’ll be a hard path to follow.”
- Analysis:
- “God’s sonties” is a mild oath (a softened way of swearing).
- Gobbo’s confusion adds to the comedic situation.
GOBBO: “Can you tell me whether one Lancelet, that dwells with him, dwell with him or no?”
- Translation: “Can you tell me whether a servant named Lancelet lives with him or not?”
- Analysis:
- Gobbo is asking about his own son, not knowing he’s talking to him.
- Adds to the theme of disguise and mistaken identity.
LANCELET: “Talk you of young Master Lancelet?” (aside) “Mark me now, now will I raise the waters.” — “Talk you of young Master Lancelet?”
- Translation: “Are you talking about young Master Lancelet?” (to audience) “Watch this—I’m going to make him cry.”
- Analysis:
- “Raise the waters” = make him emotional, like raising tears.
- Shakespeare uses asides to let the audience in on the joke.
GOBBO: “No master, sir, but a poor man’s son. His father, though I say ’t, is an honest exceeding poor man and, God be thanked, well to live.”
- Translation: “Not a master, sir, just the son of a poor man. His father (that’s me), is honest but very poor—and thank God, still alive.”
- Analysis:
- Irony: He’s praising himself while not knowing he’s talking to his own son.
- Theme: Poverty and class are subtly shown.
LANCELET: “Well, let his father be what he will, we talk of young Master Lancelet.”
- Translation: “Whatever his father is, we’re talking about young Master Lancelet.”
- Analysis: Lancelet keeps the joke going and elevates himself by calling himself “Master”—a mockery of social status.
GOBBO: “Your Worship’s friend, and Lancelet, sir.”
- Translation: “Yes, your friend Lancelet, sir.”
- Analysis: Gobbo thinks he’s talking to someone important, reinforcing the power difference.
LANCELET: “But I pray you, ergo, old man, ergo, I beseech you, talk you of young Master Lancelet?”
- Translation: “So I ask you again, old man—are you talking about young Master Lancelet?”
- Analysis:
- He keeps repeating the question to prolong the confusion.
- The use of “ergo” (Latin for “therefore”) is mock-pretentious—a way to sound scholarly and poke fun at formal speech.
GOBBO: “Of Lancelet, an ’t please your mastership.”
- Translation: “Yes, of Lancelet, sir, if it pleases you.”
- Analysis: Shows Gobbo’s humble tone and deference.
LANCELET: “Ergo, Master Lancelet. Talk not of Master Lancelet, father, for the young gentleman, according to Fates and Destinies, and such odd sayings, the Sisters Three, and such branches of learning, is indeed deceased, or, as you would say in plain terms, gone to heaven.”
- Translation: “Therefore, Master Lancelet. But don’t talk about him, father. According to fate, destiny, and all those things, he’s dead—or, in simpler words, he’s gone to heaven.”
- Analysis:
- Mockery of grand language: He mentions “Fates and Destinies” and “Sisters Three” (mythological references) in a humorous, over-the-top way.
- He pretends he’s dead to fool his dad—classic comedic deception.
- Theme: Death as a metaphor—he’s symbolically “killing off” his servant identity to take on a new role.
GOBBO: “Marry, God forbid! The boy was the very staff of my age, my very prop.”
- Translation: “Oh no, God forbid! That boy was my support in old age—he was like a cane I lean on.”
- Analysis:
- Metaphor: “Staff” and “prop” symbolize emotional and practical support.
- Touch of sadness—despite the comedy, this shows love and dependence.
LANCELET (aside): “Do I look like a cudgel or a hovel-post, a staff or a prop?” — “Do you know me, father?”
- Translation: (to audience) “Do I look like a walking stick or a fence post?” — (to his dad) “Do you recognize me, father?”
- Analysis:
- Wordplay: Cudgel (club), hovel-post (fence post)—he’s poking fun at his father’s metaphor.
- Finally, he reveals himself, shifting from mischief to recognition.
- Theme: Recognition and reconciliation.
GOBBO
“Alack the day, I know you not, young gentleman. But I pray you tell me, is my boy, God rest his soul, alive or dead?”
- Modern meaning: Oh dear! I don’t recognize you, young man. Please, can you tell me—is my son (God bless his soul) alive or dead?
- Analysis: Gobbo still hasn’t realized he’s speaking to his own son. His blindness (he says he is “sandblind”) symbolizes ignorance and confusion—common in comedic scenes. The dramatic irony here is that we know it’s his son, but he doesn’t.
- Theme: Family bonds, mistaken identity
- Language technique: Irony
LANCELET
“Do you not know me, father?”
- Modern meaning: Don’t you recognize me, Dad?
- Analysis: Lancelet is starting to drop hints and test whether his father will realize the truth on his own.
GOBBO
“Alack, sir, I am sandblind. I know you not.”
- Modern meaning: Oh, sir, I’m almost blind—I really don’t know who you are.
- Analysis: “Sandblind” (partially blind) adds humor to the scene. Shakespeare uses physical blindness as a metaphor for emotional or spiritual blindness. Gobbo can’t “see” the truth even when it’s right in front of him.
- Theme: Appearance vs. reality
- Language technique: Symbolism (blindness)
LANCELET
“Nay, indeed, if you had your eyes, you might fail of the knowing me. It is a wise father that knows his own child.”
- Modern meaning: Even if you could see, you might not recognize me. It takes a wise father to know his own son.
- Analysis: A proverb-like line—suggesting not all parents know their children well. Lancelet jokes that even sight wouldn’t help his father.
- Language technique: Aphorism (proverb), irony
- Theme: Family recognition, wisdom vs. foolishness
“Well, old man, I will tell you news of your son. [He kneels.] Give me your blessing. Truth will come to light, murder cannot be hid long—a man’s son may, but in the end, truth will out.”
- Modern meaning: I’ll tell you about your son. First, give me your blessing. The truth always comes out—even if people can hide murder, they can’t hide who they really are.
- Analysis: Lancelet cleverly mixes comedy with truth. “Truth will out” is a famous proverb. His kneeling adds a sudden burst of emotional sincerity and dramatizes the moment.
- Language technique: Proverb, dramatic irony
- Theme: Truth vs. deception, revelation, family
- Note: “A man’s son may [be hidden]” is a humorous way of continuing the idea that even a father can be clueless about his own child.
GOBBO
“Pray you, sir, stand up! I am sure you are not Lancelet my boy.”
- Modern meaning: Please get up, sir. I’m sure you’re not my son.
- Analysis: He still doesn’t believe him! The physical comedy continues.
LANCELET
“Pray you, let’s have no more fooling about it, but give me your blessing. I am Lancelet, your boy that was, your son that is, your child that shall be.”
- Modern meaning: Okay, stop fooling around and bless me. I am Lancelet—your past, present, and future son.
- Analysis: This is a funny yet touching line. Lancelet uses a kind of mock-formal tone, piling on poetic phrasing for comic effect.
- Language technique: Tricolon (three-part structure), repetition
- Theme: Identity, family love, recognition
GOBBO
“I cannot think you are my son.”
- Modern meaning: I just can’t believe you’re really my boy.
- Analysis: Gobbo is overwhelmed and still in denial. This keeps the comedy going.
LANCELET
“I know not what I shall think of that; but I am Lancelet, the Jew’s man, and I am sure Margery your wife is my mother.”
- Modern meaning: I don’t know what to say to that—but I am Lancelet, I work for the Jew, and your wife Margery is definitely my mother.
- Analysis: Lancelet gives “evidence” to prove his identity. The mention of “Margery” is specific enough to finally convince his father.
- Language technique: Plain declarative sentence—contrasts with earlier wordplay to signal a shift to truth.
GOBBO
“Her name is Margery, indeed. I’ll be sworn if thou be Lancelet, thou art mine own flesh and blood. Lord worshiped might He be, what a beard hast thou got! Thou hast got more hair on thy chin than Dobbin my fill-horse has on his tail.”
- Modern meaning: Yes, her name is Margery. If you’re really Lancelet, you’re truly my son. Praise the Lord—you’ve grown a beard! You have more hair on your chin than Dobbin the horse has on his tail.
- Analysis: Old Gobbo finally believes him—and immediately shifts to commenting on his son’s appearance! Comparing him to a horse adds rural humor.
- Language technique: Hyperbole, simile
- Theme: Recognition, comedic exaggeration
LANCELET
“It should seem, then, that Dobbin’s tail grows backward. I am sure he had more hair of his tail than I have of my face when I last saw him.”
- Modern meaning: Then it must mean Dobbin’s tail is shrinking! Last time I saw him, his tail had more hair than my face does now.
- Analysis: Lancelet continues the joke, playing along with his father’s logic.
- Language technique: Wordplay, absurd humor
GOBBO
“Lord, how art thou changed! How dost thou and thy master agree? I have brought him a present. How ’gree you now?”
- Modern meaning: Wow, you’ve really changed! How are things between you and your master? I brought him a gift—do you still get along?
- Analysis: Now that recognition has happened, the father switches to practical matters. This reminds us that the scene connects to the bigger plot—Lancelet’s desire to leave Shylock’s service.
- Theme: Servitude, family concern
LANCELET
“Well, well. But for mine own part, as I have set up my rest to run away, so I will not rest till I run.”
- Modern meaning: It’s fine. But honestly, I’ve made up my mind to run away, and I won’t rest until I do.
- Analysis: This is a pun. “Set up my rest” means he’s made a firm decision, but he flips the phrase: he won’t rest until he runs. This reflects his comical rebellion and need for freedom.
- Language technique: Pun, wordplay
- Theme: Freedom vs. servitude, comic resolution
“have run some ground. My master’s a very Jew.”
- Meaning: Lancelet says that once he starts running away, he won’t stop until he’s far away. He then insults Shylock by calling him “a very Jew”—meaning miserly and cruel.
- Language: This is an example of stereotyping—Shakespeare uses the Elizabethan association of Jews with greed. It reflects anti-Semitic attitudes of the time.
- Themes: Prejudice, Servitude, Freedom vs. Slavery.
🔶 “Give him a present! Give him a halter.”
- Meaning: Sarcastically, he says instead of a gift, Shylock deserves a halter (a noose used to hang someone).
- Language: This is dark humor and hyperbole. Lancelet exaggerates Shylock’s cruelty.
- Themes: Class resentment, Servant-Master relationship.
🔶 “I am famished in his service. You may tell every finger I have with my ribs.”
- Meaning: He’s starving while working for Shylock. He jokes that he’s so skinny, you could count his ribs like you’d count fingers.
- Language: Imagery—his words create a vivid picture of his hunger.
- Themes: Poverty, Mistreatment of servants.
🔶 “Father, I am glad you are come! Give me your present to one Master Bassanio, who indeed gives rare new liveries.”
- Meaning: He’s happy his father showed up. He asks him to give the present (the dish of doves) to Bassanio instead, who gives beautiful new uniforms to his servants.
- Character: Lancelet is clever and sees an opportunity to switch masters.
- Themes: Desire for social mobility, Hope for better treatment.
🔶 “If I serve not him, I will run as far as God has any ground.”
- Meaning: He vows that if he doesn’t get hired by Bassanio, he’ll run away to the ends of the earth.
- Language: Hyperbole again. He dramatizes his desperation.
- Themes: Escape, Longing for freedom.
🔶 “O rare fortune, here comes the man! To him, father, for I am a Jew if I serve the Jew any longer.”
- Meaning: He thinks it’s great luck that Bassanio is arriving. He begs his father to approach Bassanio quickly. He says jokingly, “I might as well be a Jew myself if I keep serving Shylock.”
- Language: More irony and prejudice—he distances himself from Jewish identity.
- Themes: Identity, Loyalty, Servant desperation.
✨ [Enter Bassanio with Leonardo and a follower or two]
- Stage direction: Bassanio, a wealthy Venetian gentleman and friend of Antonio, enters with his servant Leonardo.
- Symbolism: His entrance represents opportunity and hope for Lancelet.
🔶 “You may do so, but let it be so hasted that supper be ready at the farthest by five of the clock…”
- Meaning: Bassanio gives instructions to a servant—make sure supper is ready by 5 p.m.
- Character: Shows Bassanio as orderly, commanding, and respected.
- Themes: Nobility, Order, Leadership.
🔶 “See these letters delivered, put the liveries to making, and desire Gratiano to come anon to my lodging.”
- Meaning: Deliver the letters, get new uniforms made, and ask Gratiano (his friend) to come over.
- Language: Straightforward commands—formal, upper-class tone.
- Themes: Preparation, Brotherhood, Wealth and status (servants, letters, liveries).
🔶 “To him, father.”
- Meaning: Lancelet urges his father again to speak quickly to Bassanio before he misses the chance.
- Character: Eager, impatient, desperate.
🔶 “God bless your Worship.”
- Meaning: Gobbo greets Bassanio respectfully.
- Language: Flattery and formality—“your Worship” was a way of addressing nobility.
- Theme: Social hierarchy.
🔶 “Gramercy. Wouldst thou aught with me?”
- Meaning: Bassanio replies, “Thank you. Do you want something from me?”
- Language: Polite but formal—upper-class Elizabethan dialect.
- Character: Courteous yet direct.
🔶 “Here’s my son, sir, a poor boy—”
- Meaning: Gobbo introduces his son, trying to gain sympathy by calling him “a poor boy.”
- Language: Pathos—he tries to appeal to Bassanio’s kindness.
- Theme: Parental care, Plea for opportunity.
🔶 “Not a poor boy, sir, but the rich Jew’s man, that would, sir, as my father shall specify—”
- Meaning: Lancelet interrupts—he doesn’t want to be seen as poor, but as someone with experience (working for Shylock). He passes the explanation to his father.
- Theme: Self-presentation, Job-seeking.
🔶 “He hath a great infection, sir, as one would say, to serve—”
- Meaning: Gobbo tries to say “affection” (desire), but mistakenly says “infection.”
- Language: Malapropism—using the wrong word by mistake for comic effect.
- Theme: Class difference, Comedy.
🔶 “Indeed, the short and the long is, I serve the Jew, and have a desire, as my father shall specify—”
- Meaning: Lancelet takes over—he wants to quit Shylock and work for Bassanio, and his father will explain further.
- Character: Lancelet is not shy about wanting to switch sides.
🔶 “His master and he (saving your Worship’s reverence) are scarce cater-cousins—”
- Meaning: Gobbo says, “Pardon me, sir, but my son and his master don’t get along well.”
- Language: Euphemism—“saving your reverence” softens what he’s about to say.
- Theme: Honesty with respect, Servant-master conflict.
🔶 “To be brief, the very truth is that the Jew, having done me wrong, doth cause me, as my father being, I hope, an old man, shall frutify unto you—”
- Meaning: Lancelet says Shylock has treated him unfairly, and hopes his father—being old and wise—can explain (though “frutify” is a made-up word).
- Language: Comic wordplay, nonsense vocabulary for humor.
- Theme: Youth vs. age, Communication gaps.
🔶 “I have here a dish of doves that I would bestow upon your Worship, and my suit is—”
- Meaning: Gobbo offers a gift to Bassanio (doves) and is about to explain his request.
- Symbolism: Doves represent peace, offering, and humility.
- Theme: Gift-giving, Servitude, Respect for authority.
🔶 “In very brief, the suit is impertinent to myself, as your Worship shall know by this honest—”
- Meaning: Lancelet cuts in again—he says the request is really about him, and Bassanio will understand once his father finishes talking.
- Technique: Interruption and comic timing—neither can finish their sentences without the other cutting in.
- Theme: Miscommunication, Class-based comedy.
Old man, and though I say it, though old man yet poor man, my father—
Explanation: Lancelet awkwardly tries to introduce his father, emphasizing he’s an old man and also poor.
Technique: Repetition and redundancy show Lancelet’s comic nervousness and lack of eloquence.
Theme: Class and poverty—he emphasizes his father’s humble status to gain sympathy.
Analysis: His jumbled words show how comic relief and social status play into the dialogue. It also reflects how the lower classes must beg for favor from the nobles.
BASSANIO: One speak for both. What would you?
Explanation: Bassanio is slightly impatient. He asks them to speak plainly and say what they want.
Theme: Power and hierarchy—Bassanio’s calm authority contrasts with their anxious pleading.
Tone: Assertive but not unkind.
LANCELET: Serve you, sir.
Explanation: Lancelet cuts to the point—he wants to work for Bassanio.
Theme: Servitude, upward mobility.
Tone: Hopeful.
GOBBO: That is the very defect of the matter, sir.
Explanation: Gobbo means “effect” but says “defect” by mistake—he’s trying to say that this is the reason they’ve come.
Technique: Malapropism (using the wrong word by accident) for comedic effect.
Analysis: Shakespeare often uses such wordplay with uneducated characters to show their lack of learning but also add humor.
BASSANIO, to Lancelet: I know thee well. Thou hast obtained thy suit.
Explanation: Bassanio recognizes Lancelet and grants his request—he can work for him.
Theme: Kindness of nobles, opportunity.
Tone: Generous and affirming.
Language: Formal but friendly.
**Shylock thy master spoke with me this day,
And hath preferred thee, if it be preferment
To leave a rich Jew’s service, to become
The follower of so poor a gentleman.**
Explanation: Bassanio says Shylock already spoke to him and recommended Lancelet for this job. He jokes that it’s questionable whether moving from a wealthy master to a poor one like himself is really a promotion.
Theme: Wealth vs. dignity, anti-Semitic undertones (mocking the Jew’s wealth as opposed to his own nobility).
Technique: Irony—”preferment” usually means promotion, but here it’s ironically questioned.
Analysis: The line reflects Christian vs. Jewish identities, class vs. wealth, and Lancelet’s desire to escape his old master.
LANCELET: The old proverb is very well parted between my master Shylock and you, sir: you have ‘the grace of God,’ sir, and he hath ‘enough.’
Explanation: Lancelet jokes that Bassanio is spiritually blessed, while Shylock only has money.
Theme: Christian virtue vs. Jewish materialism (reflects Elizabethan stereotypes).
Technique: Proverb parody—he twists an old saying for comic effect.
Tone: Light, humorous, but politically loaded.
Analysis: Reinforces religious bias common in Shakespeare’s time, but also mocks the idea that money is more important than morals.
**BASSANIO: Thou speak’st it well.—Go, father, with thy son.—
Take leave of thy old master, and inquire
My lodging out.**
Explanation: Bassanio praises Lancelet’s wit, tells Gobbo to go with his son, say goodbye to Shylock, and find Bassanio’s home.
Theme: Generosity, transition from one master to another.
Tone: Warm and instructive.
Language: Clear and commanding.
**To an Attendant. Give him a livery
More guarded than his fellows’. See it done.**
Explanation: He orders a servant to give Lancelet a uniform with more decoration than the others.
Theme: Status, appearance, loyalty.
Technique: Symbolism—the livery (uniform) represents belonging, rank, and identity.
Analysis: Bassanio rewards Lancelet not just with employment but with honor—his attire sets him apart.
LANCELET: Father, in. I cannot get a service, no! I have ne’er a tongue in my head!
Explanation: Lancelet mockingly pretends he’s never been able to get a job or speak well, even though he just did.
Tone: Sarcastic and self-congratulatory.
Technique: Irony—he’s saying the opposite of the truth.
Theme: Luck, confidence.
Well, studying his palm—if any man in Italy have a fairer table which doth offer to swear upon a book—I shall have good fortune, go to!
Explanation: He looks at his palm, pretending to read his fortune like a palm reader, and predicts he’ll be lucky.
Technique: Comic gesture and visual humor.
Theme: Fate, fortune, superstition.
Analysis: Lancelet blends humor and hope, believing fate is on his side now.
Here’s a simple line of life. Here’s a small trifle of wives—alas, fifteen wives is nothing; eleven widows and nine maids is a simple coming-in for one man—
Explanation: He jokes that his palm reading predicts he’ll marry fifteen wives, including widows and virgins—“a simple coming-in” means an easy gain.
Technique: Hyperbole (exaggeration) for humor.
Theme: Ambition, fantasy, comic greed.
Tone: Silly and playful.
And then to ’scape drowning thrice, and to be in peril of my life with the edge of a featherbed! Here are simple ’scapes.
Explanation: He jokes he’ll survive three near-drownings and danger involving a “featherbed” (perhaps implying danger from love affairs or laziness).
Technique: Wordplay—featherbed as both literal and metaphorical.
Theme: Survival, fortune, absurd luck.
Analysis: He believes he’s destined for a colorful life full of narrow escapes.
Well, if Fortune be a woman, she’s a good wench for this gear.
Explanation: He imagines Fortune as a woman who’s been kind to him with these predictions.
Theme: Gendering fate, superstition, personification of abstract concepts.
Language: Personification—Fortune becomes a woman, a “wench.”
Analysis: Reflects Elizabethan ideas of fate and chance being fickle and female.
Father, come. I’ll take my leave of the Jew in the twinkling.
Explanation: He tells his father he’ll say goodbye to Shylock quickly (“in the twinkling of an eye”).
Tone: Triumphant and impatient.
Theme: Breaking free from old constraints.
Language: Idiom—”in the twinkling” means very quickly.
Analysis: Final line shows how eager Lancelet is to leave his old life behind.
**BASSANIO: These things being bought and orderly bestowed,
Return in haste, for I do feast tonight
My best esteemed acquaintance. Hie thee, go.**
Modern Meaning: Once you’ve bought everything and put them in order, come back quickly—I’m having a feast tonight with some of my closest friends.
Theme: Hospitality, preparation for important events.
Tone: Urgent and commanding.
Language Note: “Hie thee” = hurry up.
LEONARDO: My best endeavors shall be done herein.
Modern Meaning: I’ll do my best to handle it.
Tone: Obedient, respectful.
(Enter Gratiano)
GRATIANO, to Leonardo: Where’s your master?
LEONARDO: Yonder, sir, he walks.
Modern Meaning: Gratiano asks where Bassanio is. Leonardo points to him and leaves.
Tone: Direct, simple.
GRATIANO: Signior Bassanio!
BASSANIO: Gratiano!
Modern Meaning: Friendly greetings exchanged.
Tone: Warm, familiar.
GRATIANO: I have suit to you.
Modern Meaning: I have a request.
Theme: Favor, friendship.
Note: “Suit” = a petition or favor.
BASSANIO: You have obtained it.
Modern Meaning: Consider it granted!
Tone: Generous.
GRATIANO: You must not deny me. I must go with you to Belmont.
Modern Meaning: Don’t say no—I have to go with you to Belmont.
Theme: Loyalty, eagerness.
Tone: Pleading but confident.
**BASSANIO: Why then you must. But hear thee, Gratiano,
Thou art too wild, too rude and bold of voice—
Parts that become thee happily enough,
And in such eyes as ours appear not faults.**
Modern Meaning: Alright, you can come—but listen: you’re too loud, wild, and brash. Among friends like us, that’s fine—but…
Theme: Reputation, appearances.
Technique: Juxtaposition—traits that are acceptable among friends may appear improper to outsiders.
Analysis: Bassanio values Gratiano’s friendship but worries about how others will perceive him.
**But where thou art not known—why, there they show
Something too liberal.**
Modern Meaning: In places where people don’t know you, your behavior might seem too free or inappropriate.
Theme: Public image vs. private behavior.
Tone: Cautioning.
Note: “Liberal” here means undisciplined or overly free.
**Pray thee take pain
To allay with some cold drops of modesty
Thy skipping spirit,**
Modern Meaning: Please try to cool down your over-excited nature with some modesty.
Technique: Metaphor—“cold drops of modesty” likens self-control to water quenching fire.
Theme: Self-restraint.
Tone: Advising, caring.
**…lest through thy wild behavior
I be misconstered in the place I go to,
And lose my hopes.**
Modern Meaning: If you act out, people might misunderstand me—and I might lose my chances.
Theme: Social status, appearances, opportunity.
Analysis: Bassanio’s future (Portia’s hand) could be at risk if Gratiano misbehaves.
**GRATIANO: Signior Bassanio, hear me.
If I do not put on a sober habit,
Talk with respect, and swear but now and then,
Wear prayer books in my pocket, look demurely,**
Modern Meaning: If I don’t behave properly—dress seriously, speak politely, barely swear, carry prayer books, and look humble—
Technique: Irony and exaggeration—Gratiano’s promise to act “holy” is humorously over-the-top.
Tone: Playful, dramatic.
Theme: Performance, social masking.
**Nay more, while grace is saying, hood mine eyes
Thus with my hat, and sigh and say “amen,”**
Modern Meaning: I’ll even pull my hat down over my eyes and whisper “amen” during grace to look respectful.
Technique: Visual imagery, mock seriousness.
Theme: Appearance vs. sincerity.
**Use all the observance of civility
Like one well studied in a sad ostent
To please his grandam, never trust me more.**
Modern Meaning: I’ll act like someone who’s been trained in fake seriousness just to please his grandma—if I don’t, you can never trust me again!
Technique: Simile—comparing his future behavior to a showy, insincere person.
Theme: Social performance.
Analysis: Gratiano humorously promises to act civilized but admits it’ll be a performance.
BASSANIO: Well, we shall see your bearing.
Modern Meaning: Alright, we’ll see how you behave.
Tone: Testing, half-joking.
Theme: Friendship, trust.
Note: “Bearing” = conduct or behavior.
**GRATIANO: Nay, but I bar tonight. You shall not gauge me
By what we do tonight.**
Modern Meaning: No, don’t judge me based on tonight’s behavior.
Tone: Lighthearted, humorous.
Theme: Public image vs. private celebration.
Analysis: Gratiano is basically saying, “Tonight doesn’t count—it’s party time!”
**BASSANIO: No, that were pity.
I would entreat you rather to put on
Your boldest suit of mirth, for we have friends
That purpose merriment. But fare you well.
I have some business.**
Modern Meaning: Of course not—it would be a shame if you didn’t enjoy yourself. In fact, I want you to be cheerful tonight—we have friends coming who are ready to celebrate. But I must go now; I have things to do.
Tone: Warm, permissive, but transitioning to serious.
Theme: Celebration and duty, social preparation.
Technique: Juxtaposition—celebration vs. upcoming serious journey.
Note: “Suit of mirth” = mood or outfit of joy.
**GRATIANO: And I must to Lorenzo and the rest.
But we will visit you at supper time.**
Modern Meaning: I also have to go meet Lorenzo and the others, but we’ll see you later at dinner.
Theme: Social bonding, friendship.
Tone: Cheerful and casual.
Analysis: This hints at the subplot with Lorenzo and Jessica, tying into the bigger story.
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