Hello, my name is Jack Sparrow. I'm a 50 year old self-employed Pirate from the Caribbean. Page 10
69. Bassanio’s opening talk can be seen as a chummy elaboration upon Antonio’s previous remark about Gratziano’s
empty talk. In Q1, these lines do not appear in meter, which is odd since all the verse preceding it and following it,
are in meter. Moreover, these are the first lines uttered by our romantic hero, which, though light-hearted and
playful, should, at least, be delivered in the standard meter. It could be, however, for no clear reason, that this nonmetered
opening by Bassanio was a deliberate attempt to first present Bassanio as somewhat awkward with his
words. Most likely, however, (and consistent with Antonio’s previous line, which is corrupt) this non-metered
opening by Bassanio resulted from some problem with the reading of the text and not by original design. Q1
(uncorrected) reads: {Gratiano speaks and infinite deale of nothing more then any man in all Venice, his reasons are
as two graines of wheate hid in two bushels of chaffe: you shall seeke all day ere you finde them, and when you have
them, they are not worth the search.}. [See Additional Notes, 1.1.118]
70. {His reasons are as two grains of wheat hid in two bushels of chaff:}
his reasons: his point, his conclusions; the value of what he says
/ All of his wit are as two grains of wheat | Hid in two bushels full of worthless chaff—
71. / In all of Venice. And, his final point
Is like a grain of wheat in’a heap of chaff:
72. / He speaks an infinite deal of nothing, | More so than any man in all of Venice. | His point resembles but two
grains of wheat | Hid in two bushels of chaff. You must seek | All day before you find them; and when you | Finally
have them, they’re not worth the search.
73. {Well, tell me now what lady is the same | To whom you swore a secret pilgrimage}
Some commentators surmise that Antonio’s sadness has come about due to Bassanio’s secret rendezvous
with a woman. However, this conclusion is forced and unlikely. Antonio’s sadness is a result of his disposition,
which is confirmed by Antonio when he states that the part he has been selected to play, on the world stage, is a sad
one [78-79]. Bassanio’s potential love interest may have exacerbated Antonio’s worrisome condition but this, too, is
unlikely, since Bassanio did not even know the identity of the woman with whom Bassanio was meeting. All
Antonio knew was that Bassanio was meeting with some woman, whose identity he swore to keep secret—and whom
he promised to tell Antonio about (after the meeting was over). Bassanio was well aware of the nature of the
meeting, and that the subject discussed involved Antonio in some way, and that is why Bassanio told Antonio about
the ‘secret’ meeting and told him that he (Bassanio) was going to tell him about what he learned from the meeting
today. (We can assume that the meeing took palce yesterday, as Bassanio would not delay in telling Antonio about
it—especially if Antonio’s help, with respect to actuating the plan formulated during the meeting, was needed.)
Who was this lady to whom Bassanio swore to meet with in secret (and to keep the whole meeting a secret,
and to keep secret the identity of the woman with whom he was meeting)? Certainly it was not Portia, as Portia
would not have arranged such a meeting nor would she have any reason to meet with Bassanio. Neither was this a
meeting with an irrelevant love interest—or it would not have been so secretive and Bassanio would have no reason
to have discussed it with Antonio.
In the meeting we know that Bassanio learned about Portia and the lottery—yet this was not something that
needed to be sealed by a vow of secrecy, as this was public knowledge. The meeting had an undisclosed purpose
such that Bassanio could not even reveal the identity of the lady with whom he was meeting (for he did not know it)
to his dearest friend—nor was he at liberty to tell his dearest friend anything about the meeting, nor what was
discussed, nor the identity of the woman with whom he met (after he discovered her identity). All we know is that
Bassanio does not talk about whom he met with—the one he promised to tell Antonio about—but only about what he
learned from the meeting (which concerns Portia’s situation and no other).
So, whom did he meet with and for what purpose? All indications suggest that he met with Nerissa, Portia’s
trusting handmaid, to discuss Portia and the lottery. He told Antonio about the meeting because as he correctly
anticipated, he needed a large sum of money (from Antonio) in order to carry out the plan hatched out in the meeting.
[See, Additional Notes, 1.1.120]
empty talk. In Q1, these lines do not appear in meter, which is odd since all the verse preceding it and following it,
are in meter. Moreover, these are the first lines uttered by our romantic hero, which, though light-hearted and
playful, should, at least, be delivered in the standard meter. It could be, however, for no clear reason, that this nonmetered
opening by Bassanio was a deliberate attempt to first present Bassanio as somewhat awkward with his
words. Most likely, however, (and consistent with Antonio’s previous line, which is corrupt) this non-metered
opening by Bassanio resulted from some problem with the reading of the text and not by original design. Q1
(uncorrected) reads: {Gratiano speaks and infinite deale of nothing more then any man in all Venice, his reasons are
as two graines of wheate hid in two bushels of chaffe: you shall seeke all day ere you finde them, and when you have
them, they are not worth the search.}. [See Additional Notes, 1.1.118]
70. {His reasons are as two grains of wheat hid in two bushels of chaff:}
his reasons: his point, his conclusions; the value of what he says
/ All of his wit are as two grains of wheat | Hid in two bushels full of worthless chaff—
71. / In all of Venice. And, his final point
Is like a grain of wheat in’a heap of chaff:
72. / He speaks an infinite deal of nothing, | More so than any man in all of Venice. | His point resembles but two
grains of wheat | Hid in two bushels of chaff. You must seek | All day before you find them; and when you | Finally
have them, they’re not worth the search.
73. {Well, tell me now what lady is the same | To whom you swore a secret pilgrimage}
Some commentators surmise that Antonio’s sadness has come about due to Bassanio’s secret rendezvous
with a woman. However, this conclusion is forced and unlikely. Antonio’s sadness is a result of his disposition,
which is confirmed by Antonio when he states that the part he has been selected to play, on the world stage, is a sad
one [78-79]. Bassanio’s potential love interest may have exacerbated Antonio’s worrisome condition but this, too, is
unlikely, since Bassanio did not even know the identity of the woman with whom Bassanio was meeting. All
Antonio knew was that Bassanio was meeting with some woman, whose identity he swore to keep secret—and whom
he promised to tell Antonio about (after the meeting was over). Bassanio was well aware of the nature of the
meeting, and that the subject discussed involved Antonio in some way, and that is why Bassanio told Antonio about
the ‘secret’ meeting and told him that he (Bassanio) was going to tell him about what he learned from the meeting
today. (We can assume that the meeing took palce yesterday, as Bassanio would not delay in telling Antonio about
it—especially if Antonio’s help, with respect to actuating the plan formulated during the meeting, was needed.)
Who was this lady to whom Bassanio swore to meet with in secret (and to keep the whole meeting a secret,
and to keep secret the identity of the woman with whom he was meeting)? Certainly it was not Portia, as Portia
would not have arranged such a meeting nor would she have any reason to meet with Bassanio. Neither was this a
meeting with an irrelevant love interest—or it would not have been so secretive and Bassanio would have no reason
to have discussed it with Antonio.
In the meeting we know that Bassanio learned about Portia and the lottery—yet this was not something that
needed to be sealed by a vow of secrecy, as this was public knowledge. The meeting had an undisclosed purpose
such that Bassanio could not even reveal the identity of the lady with whom he was meeting (for he did not know it)
to his dearest friend—nor was he at liberty to tell his dearest friend anything about the meeting, nor what was
discussed, nor the identity of the woman with whom he met (after he discovered her identity). All we know is that
Bassanio does not talk about whom he met with—the one he promised to tell Antonio about—but only about what he
learned from the meeting (which concerns Portia’s situation and no other).
So, whom did he meet with and for what purpose? All indications suggest that he met with Nerissa, Portia’s
trusting handmaid, to discuss Portia and the lottery. He told Antonio about the meeting because as he correctly
anticipated, he needed a large sum of money (from Antonio) in order to carry out the plan hatched out in the meeting.
[See, Additional Notes, 1.1.120]
Page 11
74. Bassanio tells nothing of the woman he met with, only about his plan and his need of Antonio’s help
75. Bassanio seems to be part of an aristocratic class called ‘gentlemen’—a class of young, single men living off
their parentage inheritance (or estate). As they do not need to work, their days are concerned with entertainment,
parties, feasting, womanizing, etc.
76. {By something showing a more swelling port} / By showing off a more lavish life-style
77. / Nor do I make moan that such noble° spending / lordly
/ Has been abridged.° But now my chief concern / cut short
78. {Wherein my time something too prodigal}
too prodigal: too extravagant and wasteful
79. {Hath left me gaged}
gaged: a) engaged (with creditors), indebted, owing, entangled, pledged, bound
b) gaged, bound by a gag, muzzled. The implication here is that Bassanio wasted all his money on high
living and feasting (something too prodigal) and is now gaging (choking) on this pile debt in the same way as one
might gag on biting off more food than he can chew.
80. a) Is to come clear° of all the debts amassed° / pay off // accrued
During my time of prodigal spending,° / improvident waste
Which now I gag upon. To you, my friend
b) Is to come fully clear from all my debts
Which I’ve amassed from years° of wasteful spending
Which now I gag upon. To you, my friend
c) Is to come fully clear of the great debts
/ Wherein my time of wonton wastefulness | Hath left me now to gag upon. To you
/ Which all my time of prodigal expense | Hath left me bound and indebted. To you
81. {And from your love I have a warranty}
/ And by your love, I have a guarantee / And now your love does grant me permission
82. Here Bassanio claims: I will unburden all my plots and purposes yet he never discloses anything to Antonio
about the woman with whom he met nor his true plot—a plot which involves winning Portia by way of a lottery not
by customary courtship (as Antonio may be led to believe). Bassanio tells Antonio about Portia, and his sureness of
winning her, but does not disclose the means (i.e. the lottery), nor the identity of the woman with whom he met, nor
the true reason as to why he is so certain (and ‘questionless’) of victory. Bassanio (leading Antonio to believe his
venture involves a typical courtship scenario) tells Antonio he is sure to win her because she once looked upon him
favorably—but such a favorable glance has no bearing on his odds of winning her. It is irrelevant. He can only win
her by choosing the right chest, through his own wit and wisdom—or through some other kind of help—and not
through anything Portia’s favorable glances could bestow.
75. Bassanio seems to be part of an aristocratic class called ‘gentlemen’—a class of young, single men living off
their parentage inheritance (or estate). As they do not need to work, their days are concerned with entertainment,
parties, feasting, womanizing, etc.
76. {By something showing a more swelling port} / By showing off a more lavish life-style
77. / Nor do I make moan that such noble° spending / lordly
/ Has been abridged.° But now my chief concern / cut short
78. {Wherein my time something too prodigal}
too prodigal: too extravagant and wasteful
79. {Hath left me gaged}
gaged: a) engaged (with creditors), indebted, owing, entangled, pledged, bound
b) gaged, bound by a gag, muzzled. The implication here is that Bassanio wasted all his money on high
living and feasting (something too prodigal) and is now gaging (choking) on this pile debt in the same way as one
might gag on biting off more food than he can chew.
80. a) Is to come clear° of all the debts amassed° / pay off // accrued
During my time of prodigal spending,° / improvident waste
Which now I gag upon. To you, my friend
b) Is to come fully clear from all my debts
Which I’ve amassed from years° of wasteful spending
Which now I gag upon. To you, my friend
c) Is to come fully clear of the great debts
/ Wherein my time of wonton wastefulness | Hath left me now to gag upon. To you
/ Which all my time of prodigal expense | Hath left me bound and indebted. To you
81. {And from your love I have a warranty}
/ And by your love, I have a guarantee / And now your love does grant me permission
82. Here Bassanio claims: I will unburden all my plots and purposes yet he never discloses anything to Antonio
about the woman with whom he met nor his true plot—a plot which involves winning Portia by way of a lottery not
by customary courtship (as Antonio may be led to believe). Bassanio tells Antonio about Portia, and his sureness of
winning her, but does not disclose the means (i.e. the lottery), nor the identity of the woman with whom he met, nor
the true reason as to why he is so certain (and ‘questionless’) of victory. Bassanio (leading Antonio to believe his
venture involves a typical courtship scenario) tells Antonio he is sure to win her because she once looked upon him
favorably—but such a favorable glance has no bearing on his odds of winning her. It is irrelevant. He can only win
her by choosing the right chest, through his own wit and wisdom—or through some other kind of help—and not
through anything Portia’s favorable glances could bestow.
Page 12
83. {And if it stand, as you yourself still do, | Within the eye of honour}
> if your plan is righteous, honorable, above board, ethical, etc.
Antonio is adding a caveat here: Bassanio’s plan must stand within the eye of honour. However, the plan as
we know it, which involves a chance lottery (or, as we may surmise, receiving a guarantee of help from Nerissa if
certain conditions are met) is not honorable. As such, Bassanio does not tell Antonio the actual plan, nor “unburden
all his pots and purposes.” He presents what appears to be a normal courtship scenario without any mention of the
actual plot or circumstances. (When does Antonio finally learn about the true nature of the chance venture?—and
what does he do when he finds out that Bassanio has borrowed the money under a false pretense?) It seems
Antonio’s blind love for Bassanio causes him to see past all of Bassanio’s flaws, even the avoidable action of failing
to cure Antonio’s bond when he had means enough, and time enough, to do so. [See Additional Notes, 1.1.137]
84. Bassanio asking Antonio for money—yet again—might suggests some kind of abuse. In the past Bassanio has
borrowed money from Antonio to ‘show a more swelling port’ and to live beyond his means—and he made no
attempt to repay any of the borrowed money. Here again, knowing that most of Antonio’s money is tied up in his
ventures, Bassanio again comes to Antonio. It seems that Antonio loves this young man, who is high-spirited and
who brings to Antonio a sense of life he is missing—so much so that he is willing to do anything for him. Bassanio
is aware of Antonio’s love and he uses that affection—perhaps in an innocent or careless way, as opposed to a
deceitful or knowingly abusive way—for his own financial benefit. Bassanio, too, has genuine love for Antonio, so
the relationship is one of mutual support and friendship.
85. {I shot his fellow of the selfsame flight | The selfsame way}
/ I shot another in the selfsame way | And in the selfsame direction, but then
/ I’d see exactly where the next one fell, | And in venturing forth I oft found both.
86.{To find the other forth, and by adventuring both, | I oft found both}
/ Then I would venture for the second shaft, | And oft found both.
/ Then, by adventuring for the second, | I oft found both.
oft: often—often, but not always; the venture had some risk and sometimes both arrows were lost.
87. Not true! The plan—which is never truly told to Antonio—is far from innocent. In the highest embodiment
(and most unlikely scenario) it involves a deceitful appearance and an uncertain choice between three caskets; in the
lowest embodiment (and most likely scenario) it involves “cheating”(for good reasons, no doubt) and the unfair
winning of another’s wealth. The plan, moreover, is somewhat mercenary; it is first proposed as a way to clear up all
of Bassanio’s debts rather than the defiant and risky action of someone truly in love.
88. {. . . I do not doubt, | As I will watch the aim, or to find both}
I do not doubt. . .
/ That I will watch the aim and then find both
/ I’ll watch the aim with care and find them both.
> if your plan is righteous, honorable, above board, ethical, etc.
Antonio is adding a caveat here: Bassanio’s plan must stand within the eye of honour. However, the plan as
we know it, which involves a chance lottery (or, as we may surmise, receiving a guarantee of help from Nerissa if
certain conditions are met) is not honorable. As such, Bassanio does not tell Antonio the actual plan, nor “unburden
all his pots and purposes.” He presents what appears to be a normal courtship scenario without any mention of the
actual plot or circumstances. (When does Antonio finally learn about the true nature of the chance venture?—and
what does he do when he finds out that Bassanio has borrowed the money under a false pretense?) It seems
Antonio’s blind love for Bassanio causes him to see past all of Bassanio’s flaws, even the avoidable action of failing
to cure Antonio’s bond when he had means enough, and time enough, to do so. [See Additional Notes, 1.1.137]
84. Bassanio asking Antonio for money—yet again—might suggests some kind of abuse. In the past Bassanio has
borrowed money from Antonio to ‘show a more swelling port’ and to live beyond his means—and he made no
attempt to repay any of the borrowed money. Here again, knowing that most of Antonio’s money is tied up in his
ventures, Bassanio again comes to Antonio. It seems that Antonio loves this young man, who is high-spirited and
who brings to Antonio a sense of life he is missing—so much so that he is willing to do anything for him. Bassanio
is aware of Antonio’s love and he uses that affection—perhaps in an innocent or careless way, as opposed to a
deceitful or knowingly abusive way—for his own financial benefit. Bassanio, too, has genuine love for Antonio, so
the relationship is one of mutual support and friendship.
85. {I shot his fellow of the selfsame flight | The selfsame way}
/ I shot another in the selfsame way | And in the selfsame direction, but then
/ I’d see exactly where the next one fell, | And in venturing forth I oft found both.
86.{To find the other forth, and by adventuring both, | I oft found both}
/ Then I would venture for the second shaft, | And oft found both.
/ Then, by adventuring for the second, | I oft found both.
oft: often—often, but not always; the venture had some risk and sometimes both arrows were lost.
87. Not true! The plan—which is never truly told to Antonio—is far from innocent. In the highest embodiment
(and most unlikely scenario) it involves a deceitful appearance and an uncertain choice between three caskets; in the
lowest embodiment (and most likely scenario) it involves “cheating”(for good reasons, no doubt) and the unfair
winning of another’s wealth. The plan, moreover, is somewhat mercenary; it is first proposed as a way to clear up all
of Bassanio’s debts rather than the defiant and risky action of someone truly in love.
88. {. . . I do not doubt, | As I will watch the aim, or to find both}
I do not doubt. . .
/ That I will watch the aim and then find both
/ I’ll watch the aim with care and find them both.
Tags-
William Shakespeare.
Merchant Of Venice.
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