MERCHANT OF VENICE, THE

comedy in five acts by William Shakespeare, performed about 159697, printed in a quarto edition from foul papers in 1600. Much less lighthearted than Shakespeare's other comedies, the work is a serious study of love and marriage and of the abuse of wealth. Bassanio, a noble but penniless Venetian, asks his wealthy merchant friend Antonio for a loan so as to impress and woo the heiress Portia. Antonio, whose money is invested in foreign ventures, borrows the sum from Shylock, a Jewish moneylender, on the condition that if the loan cannot be repaid in time Antonio will forfeit a pound of flesh. Meanwhile, Bassanio has met the terms of Portia's father's will by selecting from three caskets that which contains her portrait, and he and Portia marry. News arrives that Antonio's ships have been destroyed. Unable to collect on his loan, Shylock attempts to use justice to enforce a terrible, murderous revenge on Antoniohe wants the pound of flesh Antonio scornfully assured him. His plan is foiled by Portia, disguised as a lawyer, who turns the tables on Shylock by a legal quibble: he must take flesh only, and if any blood is spilled Shylock must die. Thus, the contract is canceled, and Shylock is ordered to give half of his estate to Antonio, who agrees not to take the money if Shylock converts to Christianity and restores his disinherited daughter Jessica, who has married a Christian, to his will. Shylock has little choice but to agree. The play ends with the news that, in fact, some of Antonio's ships have arrived safely. Among the play's several notable secondary characters is Lancelot Gobbo, who when the play begins is in the service of Shylock. He decides to serve Bassanio instead. The Merchant of Venice introduced two expressions to the English language: a pound of flesh, to signify an extortionate payment or bargain, and shylock, to indicate an extortionate creditor. The character of Shylock has been the subject of modern scholarly debate over whether the playwright displayed anti-Semitism or religious tolerance in his characterization, for, despite his stereotypical usurious nature, Shylock is depicted as understandably full of hate, having been both verbally and physically abused by Christians, and he is given one of Shakespeare's most eloquent speeches (Hath not a Jew eyes? . . . ).