NOTES AND COMMENT

Аст І. SCENE I.

ANTONIO'S MELANCHOLY,

lines 1-112

It

The reader beginning a new play is like a stranger entering a new social world. He knows neither the dispositions nor the circumstances of the people around him; and he must learn these facts at once if he is to watch with sympathy and interest the fortunes of his new acquaintances. Consequently in any play the conversation of the opening scene must enable us to understand the surroundings to which we are introduced. must show us the characters of the different people, their attitude toward each other, their present circumstances, and future plans. At the same time, the author must make this conversation seem natural. We must never feel that the speakers are conscious of our presence and are stating facts merely to give us information, however much this may really be the case. Instead we must feel that the people before us are busy with their own affairs; and that we, like quick-witted observers, are piecing together facts from chance remarks, as we should in real life among a crowd of new acquaintances. So true is Shakespeare to life that he makes us imagine we are discovering all necessary details by our own watchfulness and ingenuity; yet so skilfully has he arranged the scene that at the end we have learned everything which we needed to know.

The contrast between Antonio's sadness and the cheerfulness of his friends serves a double purpose. In the first place, by a scene of mingled foreboding and jollity it develops in the reader the proper mood of mind for the following play, since the play itself is a mixture of sadness and merriment. The keynote is struck at the beginning. Then, too, since Antonio's friends attribute his mood to anxiety, they naturally mention his ships at sea; and thus Shakespeare can make Salanio and Salarino converse like real men, and yet make them tell us just what we need to know.

4. Stuff: almost any kind of material. This word originally conveyed a more dignified idea than it does now.

5. I am to learn: I am yet to learn. Elizabethans often omitted yet and similar words where modern English uses them.

11. Pageants. Strictly speaking, pageants were two-story movable stages on wheels, on which popular plays were given before Shakespeare's time in the open street. Here the poet is comparing the lofty ships to these high, picturesque structures. To-day the word pageant more often means a show or spectacle than the stage on which it is acted.

13. Curt'sy. The big ship causes such a swell in passing that the little boats rock up and down and seem to nod or "curt'sy" to her.

14. Notice that three words in this line, with, woven, wings, begin with w. When two or more words in a line begin with the sound of the same letter, this repeating of initials is called alliteration. It frequently gives an added beauty to the sound of the verse.

15. Such venture forth: so much money risked or adventured in ships.

18. Plucking the grass: to toss it in the air and see which way the wind blew, whether it endangered his ships or not. 27. Andrew: the name of the ship.

35. Worth this. Here the actor would finish the thought with

gesture.

43. Compare this line with line 177.

50. Janus: Roman god. He was the patron deity of gates, and was represented with two faces because a gate looks both outward and inward. Salarino is discussing two types of men, those with cheerful faces and those with gloomy ones; and for this reason he swears by a two-headed god.

53. The bagpipe is a musical wind instrument consisting of a large leather bag connected with a set of sounding pipes..

56. Nestor: the oldest and consequently the gravest of the Greek leaders against Troy. Even he would laugh more easily. than these "vinegar aspects."

67. You grow exceeding strange. Must it be so? You are growing to be quite a stranger. Must you leave us now? Salarino and Salanio have already started to go.

74. Respect upon the world: regard for the world's opinion. It in the next line refers to the world's opinion.

78. A stage. Shakespeare repeatedly compares the shortness of human life to the part of a poor player,

"That struts and frets his hour upon the stage

And then is heard no more."

Here Gratiano answers, "Well, if the world is only a play, let me have the part of the jolly jester. If my health must break down, I'll break it down with merry revels, not with groaning despondency."

82. Mortifying: deadly. It comes from mortification in the sense of decay, not mortification in the sense of shame.

84. Like his grandsire cut in alabaster: an allusion to the statues of the dead placed over their tombs in ancient cathedrals.

89. Do cream and mantle like a standing pond: are like a stagnant pond where the scum forms thick as cream on milk and mantles, or covers over, the whole surface.

90. And do a wilful stillness entertain: maintain an obstinate silence.

91. Opinion. This word here means the world's opinion about a man; that is, his reputation. The person in question wishes to use his reputation for learning like a cloak to cover his weaknesses.

92. Conceit: intelligence, the power to conceive or take in ideas. The word practically never has its modern meaning in Shakespeare.

93. As who should say: as if one should say.

96. Therefore. Therefore commonly refers back to a reason already given. Here it refers forward to the reason in the next line, "For saying nothing."

98-99. If they should speak, would almost damn those ears. Understand they before would as its subject. In the next line them and brothers both refer to the affected pretenders to wisdom; their refers to the hearers. Matthew v, 22 reads: "Whosoever shall say [to his brother] . . .‘Thou fool', shall be in danger of hell fire." But these affected men would talk such folly that

they would exasperate others into calling them fools, and so would cause the eternal perdition of these unfortunates.

101-102. Don't use this melancholy air as bait to catch a false reputation for wisdom; for that kind of reputation is something which any simpleton can get. A gudgeon is a stupid fish and very easily caught.

106. One of these same dumb wise men: one of those whom Gratiano has just been ridiculing.

110. For this gear: for the present occasion.

BASSANIO SEEKS ANTONIO'S HELP, lines 113-185

115. In all Venice. In most of Shakespeare's plays some character during the first scene mentions the name of the place, lest the audience should forget their whereabouts. Venice at the time represented in the play was one of the most powerful and splendid cities in Europe. It governed itself as an independent state, held numerous colonies on the mainland, and controlled the commerce of the Mediterranean. So great was its trade that at one time it had three hundred large ships and three thousand small ones. Its merchants were rich and powerful as princes, and sent their vessels over all the known world. Antonio belongs to this class. He is no ordinary tradesman but a merchant prince, who has five or six argosies on the sea at once.

120. Swore a secret pilgrimage. Pilgrimages to the shrines of saints were common then. Antonio smilingly speaks of Portia as Bassanio's patron saint.

125. Continuance: continuation of.

126. Make moan to be abridged: make moan because I am deprived of.

129. My time: my extravagant youth.

137. Within the eye of honor: if it is of such a nature that it can bear inspection by the eye of honor. Shakespeare is careful to remind us that Bassanio is no mere fortune-hunter, but a man with high ideals of honor.

139. To your occasions: to your needs.

141. Of the selfsame flight: a second arrow made so much like the first that it would fly about the same distance, and so