IV. i. 430. The latter half of the line is obscure in expression, though the general meaning is clear. It has been proposed to read, "There's more depends on this than the stone's value."

ACT V.

SCENE I. The extreme beauty of this scene has been recognised by all, and it has been generally regarded as affording a grateful relief to the highly-wrought interest of the trial scene, and as causing The Merchant of Venice to end as a graceful comedy, not as a tragedy.

V. i. 4-6. The story of Troilus and his faithless lover Cressida was a very popular one, and Shakespeare appears here to have before his mind the story as told by Chaucer in Bk. V. St. xcvi. of Troylus and Cryseyde. We have the prince restlessly walking on the walls of Troy, and gazing on the Grecian camp from which the soft night breeze was blowing.

V. i. 6-9. Chaucer in his Legende of Goode Women tells the sad story of "Pyramus and Thesbe," how he thought she had been devoured by a lion, and in despair slew himself, and how she slew herself to bear him company. Ovid first told the story in the Metamorphoses, of which an English translation was published in 1567.

V. i. 9-11. The story of Dido forsaken by Æneas is told by Chaucer in his Legende of Goode Women, as also the story of Ariadne forsaken by Theseus, and it is from these two stories that Shakespeare borrows in these lines.

V. i. 10. The willow as the symbol of forsaken love as found in 3 Henry VI., III. iii. 228, and in Othello, IV. iii. 28.

V. i. 12-14. Medea is one of the characters in Chaucer's Legende of Goode Women, but the story of her gathering enchanted herbs by moonlight, wherewith to renew the strength of Æson, her husband's father, is not told by Chaucer. It is found in Ovid's Metamorphoses.

V. i. 14. Chaucer's story of Medea flying from Colchos with Jason, and with her father's treasure, is not unlike the story of Jessica's flight. "Waft" is for "wafted," the "ed" being absorbed for euphony's sake. See King John, II. i. 73.

V. i. 14.

V. i. 17. One of the Folios gives "and" before "in such a night," which improves the rhythm.

V. i. 31. By holy crosses. These holy crosses are still abundant in Italy. There is now a shrine of Madonna del Mare in the midst of the sea between Mestre and Venice where the gondolier and mariner cross themselves in passing.

V. i. 37. "Ceremoniously" refers to "welcome," not to "prepare."

"Let us prepare some ceremonious welcome." See also 1. 267, where "richly" refers to "argosies " rather than to " come."

V. i. 39. Launcelot is imitating the sound of the post who has come "with his horn full of good news.

V. i. 54-65. This very beautiful passage is not without its difficulties. The "patines of bright gold" of 1. 59 seem to refer to the orbs of 1. 60. But stars are gleaming points of silver light, while "patines" are thought to be the broad golden plates of the eucharist. It has therefore been proposed to put a full stop after “gold,” and understand the "patines" to be bright flakes of cloud scattered over the moonlit sky. It is to be noticed that the night in this scene is not continuously clear. In 1. I the moon shines bright, but in 1. 66 Diana needs to be wakened with a hymn. Then in 1. 89 the candle is seen to be burning, which could not be seen when the moon shone. In ll. 109, 110 the moon sleeps, and would not be awaked, but in 1. 125 the night is but a little paler than the day.

V. i. 60-65. "The music of the spheres" is described by Plato at the end of his great work the Republic. Each planet has its attendant siren, who sings one clear uniform note as the planet moves. The three Fates, who are seated on the axis of the universe, also sing of the Past, the Present and the Future, and these various notes make one great harmony. In the Timæus Plato also speaks of every star as an immortal spirit whose voice is music. Other philosophers and poets have spoken in the same strain, and Dante in the Paradiso hears the stars singing Hosannah. Shakespeare in this passage shows that he also felt the charm of this beautiful dream, and Milton in the Arcades speaks of

"the heavenly tune, which none can hear Of human mould, with gross unpurged ear."

The "immortal souls" of 1. 63 seem therefore to be the stars, and it is their music which we cannot hear, so long as our own soul is enclosed in its dull covering, the body. In 1. 65 the first "it" creates a difficulty, and it has been proposed to read “. us.

V. i. 70 your spirits are attentive; the animal spirits are intent and still, gathered in the eyes and ears, whereas at other times they are dispersed through the body producing lightness and gaiety.

V. i. 71. In The Tempest (IV. I. 175-178) there is given an equally striking picture of the power of music over gross animal natures :

V. i. 79. The poet is Ovid, who tells the story of Orpheus in the Metamorphoses.

V. i. 99. without respect; without reference to attendant circumstances. The thought of the previous lines is carried on. As the little candle beamed when the moon was hidden, so common music was charming in the silence of the night.

V. i. 103. When neither is attended. "Attended" is generally explained as equivalent to "attended to," "heeded,” but the sense so given is not very satisfactory, and not in keeping with the other instances. Rather it is that the lark's song would be robbed of its beauty if it were not "attended" by the circumstances of the clear sky, and the music coming down from heights beyond our vision.

V. i. 109. Portia wishes the music to cease, and playfully gives the reason that the moon which is now hidden must not be disturbed. Lorenzo in 1. 66 had said: "Wake Diana with a hymn." The beautiful sleeping youth Endymion whom Selene loves and watches over is thought to be the setting sun, at which the rising moon gazes fondly.

V. i. 127. Where Portia is, there is light, says Bassanio, though it be in the dead of night.

V. i. 129-131. Portia makes sport with the double meanings of "light" and "heavy," as in the following lines she does with "bound."

V. i. 148. The fashion of putting "posies" on rings was common in Shakespeare's time. A manuscript with some hundreds of them, and dating from about 1596, has been preserved. "Rather die, than faith deny" is one of them.

V. i. 205, 206. These lines seem to halt a little in grammatical construction. "Who" may perhaps be supplied before "wanted," and "the yielding” after “ urge.

وو

V. i. 217. Shame for appearing unthankful, and a sincere desire to express my gratitude both urged me.

V. i. 246. "Soul" in this line is contrasted with "body" in 1. 243. The bond is stronger.

V. i. 280. starved people; Lorenzo and Jessica had quickly spent at Genoa and elsewhere the ducats they had carried off from Venice, and were now living on the bounty of Portia.

V. i. 283. To " charge upon interrogatories" is a phrase of the law courts, signifying to make a person swear "to answer all things faithfully.”

Glossary

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