Complete MOV Support Pack

The Merchant of Venice
Teacher support pack

Written by Ruth Sudlow
87 The Merchant of Venice

THE MERCHANT OF VENICE
2 Introduction
3 Introducing the play
5 Character-based activities
7 Follow-up activities
8 Revision ideas
11-21 Introductory resources
22 Act 1 Scene 1
25 Act 1 Scene 2
28 Act 1 Scene 3
32 Essay and exam practice: Act 1
33-36 Resources: Act 1
37 Act 2 Scene 2
40 Act 2 Scene 3
41 Act 2 Scene 5
42 Act 2 Scene 6
44 Act 2 Scene 7
45 Act 2 Scene 8
56 Act 3 Scene 1
58 Act 3 Scene 2
67 Act 4 Scene 1
77 Act 5 Scene 1

THE MERCHANT OF VENICE
T
he Merchant of Venice was written around 1596, and in all likelihood was
performed before the turn of the century, while Elizabeth I was on the
throne. Its first recorded performance, however, was in 1605 at the court
of James I. It is technically classed as a comedy, and will have been viewed as
such at the time, but is now often referred to as a “problem- comedy”. This is
largely due to the figure of Shylock and the way in which Judaism is presented,
but also in part due to the serious issues of debt and violence that it tackles.
Nevertheless, the play follows many of the conventions of the classical comedy
genre. For example: a love plot in which some sort of barrier is overcome; a
happy ending, usually a wedding or a festive celebration; often involves elements
of the magical or improbable; usually has a philosophical or didactic aspect, in
which a more serious theme or issue is explored through the comedy.

Introducing the play
“WHOOSH” the plot
Ask students to stand in a circle while you tell the story of The Merchant of Venice
(see here for an overview: http://www.nosweatshakespeare.com/play-summary/merchant-venice/ ).
Every time a new character enters, or something happens, point to specific students and ask them to
come into the middle of the circle to physically enact the story. They can do this in whatever style they
like. For example, when Bassanio chooses the lead casket:
●● Students could mime the scene.
●● You could feed them key quotations.
●● You could use physical theatre and have people pretend to be the casket itself.
When you want to move on, say “whoosh” and everybody returns to their original place in the circle.
Useful links
See here for the RSC’s written instructions on how to do this for Romeo and Juliet:
https://www.tes.com/teaching-resource/rsc-shakespeare-toolkit-for-teachers-sample-6175355
For an excellent video of this see here:

https://www.youtube.com/watch?v=1ANp0cbRasU
Explore the setting
Sixteenth-century Venice was known for being a centre for commercial success; it was situated on
popular trade routes and so prospered from the traffic of people and goods. The business district of
Venice, the Rialto, would have been a daily hub of activity, where merchants and usurers (moneylenders)
went to trade. Venetians were generally thought to be sophisticated, urbane and politically adept, but
there are, as Shakespeare explores, possible downsides to living in Venice. Obsessions with material
wealth, debt problems, superficial courtships, racism and prejudice all feature in the play.
Activity one
Introduce the historical setting by asking students to study this contemporary map of Venice:
http://www.oshermaps.org/exhibitions/exodus-and-exile/iii-sephardic-jewish-diaspora.
Ask them to record what they can infer about the city (it is surrounded by water, perhaps
making it a good place for trade; there are lots of boats in the image, suggesting that it is a
busy and popular city; there are church spires, implying it is a Christian city; there is water
between the blocks of buildings, implying that people travel via water day to day, perhaps
that it smells, etc.)

Activity two
Create a soundscape for each setting. Ask the students to discuss what they might hear on
the Rialto (bartering, horses, money clinking, spitting etc). They should each come up with a
sound effect or short line of dialogue that they can say over and over again.
Ask one student to sit with their eyes shut, and get the rest of the class to make a circle
around them and repeat their sound/line. Ask the student in the middle to feedback on what
type of atmosphere/mood this creates. Experiment with volume, and add in some insults from
the play (eg, “misbeliever”, “cut-throat dog”, “devil”, “inhuman wretch”, “unfeeling man”).
Discuss atmosphere again. What kind of a place is Venice? What are people here concerned
about? This exercise could be used to explore how Shylock might have felt when Antonio
attacked him on the Rialto, or to think about the money-orientated setting of the play. You
could also repeat the exercise for Belmont and think about the effect on the audience that the
action of the play moves between these two places.
Investigate the play’s sources
Most of Shakespeare’s plots are based on or inspired by existing stories, plays, poems or myths.
He often takes ideas from more than one story at a time and weaves them together to fit his own
purposes. Students could undertake a research project, focusing on one of the main sources used for
The Merchant of Venice (see Resource B). You might ask them to consider what Shakespeare leaves
out as well as on what he takes. Use this information as clues to try to decipher what Shakespeare’s
aim when writing the play was. For example: when looking at Il Pecorone, you might ask students
to consider why Antonio is now Bassanio’s friend rather than godfather (which in some ways would
make more sense).
●● When asking students to complete research independently it can be useful for them to
build up a “working questions” bank. They should start with their main question, eg,
“Why did Shakespeare use Il Pecorone as source material for The Merchant of Venice?”
●● Before they even begin to research, ask them to compile a list of smaller research
questions that they will need to answer What is Il Pecorone? When was it written? How did
he know about it? How did people view it? What did he take from it?
●● This list will probably increase as they carry out their research: every time a further
question occurs to them, they should write it down.
●● Ask students to bring both research material and their question banks with them to the
lesson, so that they can reflect on their research methods and discuss any unanswered
questions.

Character-based activities
Character Top Trumps
Ask students to create their own deck of Top Trumps cards for the characters in the play. This is a good
opportunity to get them to consider the minor characters too: they’ll need them all to be able to play!
Rules for playing: ●● Look at existing Top Trumps designs (a quick Google image
search brings up lots) and explain the rules of the game
Shuffle and deal the (see left).
cards equally between
two players. Each should ●● Ask students to design their own card deck for The
hold their cards so that Merchant of Venice. Encourage them to think about trying
they can only see the to reflect the themes of the play in the design. Could
top one. The teacher they have round cards that look like coins? Could each
can then randomly pick character have a colour that the student associates with
one person to start, and them? To support, you could also use the template attached
they should choose the (see Resource C).
strongest category on the
top card – announcing ●● Every card should have an image (drawn or printed) and a
the number and placing brief character description.
it on the table. The other
player then announces ●● Students will then need to decide on which categories they
their score for that will use. Obvious examples include intelligence, eloquence,
category. The winner bravery, wealth and status.
takes both cards and
begins the next round. ●● For each category, the character should be ranked out of
ten. Depending on the class, you could also ask them to
write a brief support of that number, or even get them to
find supporting quotations where possible.
NB: This can be played in
larger groups, but will work ●● For a further challenge, ask students to also make cards for
better in pairs, since the relevant historical figures, like Shakespeare, Elizabeth I,
decks will be small. James I, Christopher Marlowe or Philip Henslowe.
●● Once they have completed their cards, students can partner

up and take it in turns to play, using one deck at a time.
Debating rank orders
Working in groups, students should write all of the characters’ names onto separate sticky notes (or
they could use their Top Trumps cards). You can then ask them to rank the cards/sticky notes in an
order. This could be whatever you want; any of the Top Trumps categories would work, but you could
be as creative as you like (most likely to win in a fight or most likely to win the Nobel Peace Prize, for
example).
Once the group have arranged the characters, ask half of each group to stand up and become
“challengers” while the other half stay seated and become “defenders”. Challengers should visit
another table and try to convince that group of defenders to change their order. The challengers are
not allowed to touch the other team’s cards, but must argue their case. If the challengers come up
with a point that the defenders cannot refute or counter, then they must change the order of their
cards. Ask students to keep a tally of how many moves they make and at the end see who the winning
defenders and challengers are.

Character dominoes
Hand out rectangular pieces of card and ask students to draw a line down the middle to make blank
“dominoes”. Each student should have about ten. Ask them to write the names of the characters on
each side of the domino. They should use all of the characters, excluding the very minor ones like the
messengers. The names can be written in any order and any blank spaces can be filled by repeating
the major characters.
Once they have their dominoes, students can play the game by articulating links between the
characters they match each time they lay down a card. For example, if one student plays a Jessica/
Portia card, the next might play a Shylock/Antonio card, with Antonio and Portia next to each other.
The justification could be that they both love Bassanio, that they’re both intelligent or that they both
debate with Shylock publically. No link between characters can be repeated.
You could develop a points system with the students, for example:
●● One point for stating the relationship between the characters (“Jessica is
Shylock’s daughter”).
●● Two points for stating something that they both do (“Nerissa and Portia both
give rings to their husbands”).
●● Three points for identifying similar character traits (“Antonio and Shylock are both…”).
●● Four points for identifying a similar dramatic function (“Gratiano and Launcelot
both play the fool”).
●● Bonus point for explaining why any of the statements are interesting/useful within
the context of our overall understanding of the play.
The game can be played in pairs or in larger groups. The larger the group, the harder it will be to find
new points towards the end. After playing the game, students can stick their dominoes into their
exercise books and annotate them with links.
Challenge
To find quotations from the text to support each link.
Extension:
Choose one link and write an analysis of the supporting quotation(s), focusing on how
Shakespeare uses language to present characters.
Looking at archetypes
Use Resource D to introduce some key character archetypes to students. Pin the different cards around
or outside the room and put the students into pairs. One of each pair is the “scribe”, while the other is
the “runner”. The runner has to find an information card, read it, and remember as much as possible.
They then return to the scribe, who must record everything they are told. You could set a time limit for
the students to see all of the cards, and also allow them to switch role half way through. Alternatively,
you could split the class into groups and give each one a different card. Ask them to come up with a
way to teach the rest of the class the information on the card. It must include an activity of some sort!

Follow-up activities
Discussion
Use images and clips from modern films/TV to introduce the idea of character types. American high
school films and television programmes like The Breakfast Club, Mean Girls and Glee work well. Ask
students to identify character types and begin to list the expected traits or conventions of each one.
Challenge
Ask students how (and why) they could subvert the expectations of the audience with these
characters.
Kinaesthetic
Place a prop (eg, a black cloak, a rose, a joke book, a mock sword) or image related to a character
archetype on each table. Ask the students to match the correct name to each character type and begin
to build up a list of typical characteristics or conventions for each one. Challenge them to come up
with the modern equivalents and find examples in literature/film/TV.
Drama
Activity one
In an open space, ask students to experiment with how these characters should behave on
stage. Begin with a still image and focus on posture and facial expression, then add gesture
and movement.
Develop the activity depending on what suits the class, but some options could be:
●● Photograph the students in role and ask them to annotate the image, explaining
how it communicates the character type.
●● Put the students into mixed groups and give them a scenario (eg, “a fight”, “at a
restaurant”, “at the park” or “in school”) around which to improvise, focusing on
how characters interact with each other.
●● Allocate short extracts from the play to be rehearsed with the gestures/movement
of the character archetypes.
Activity two
Ask students to work in groups to improvise an informal chat show using several character
types. You could use a real chat show like Jeremy Kyle as a model. In this format, guests take
part in the show to confront one another about a problem or disagreement.

Written
Create a character based on one of the archetypes and complete a written task to explore them
further. Task options include: a Facebook profile; a dating profile; the script of an interview with that
character; an obituary; a monologue; a podcast.
At home
Set a research task for students to track a character type through a genre of their choice: “villains”
in manga, for example. Students can present their research, drawing comparisons with characters
in The Merchant of Venice. This task could be particularly interesting if you later pose the question:
Who is the villain in The Merchant of Venice?
There is also an excellent exercise to use when looking at character archetypes in: Creative
Shakespeare: The Globe Education Guide to Practical Shakespeare, ed. Fiona Banks (page 40).
Revision ideas
Key scene tasks
Using the scene cards (Resource A) students should:
●● Try to arrange the scenes in the correct order, without reference to the text or their notes.
●● Fill in the act and scene numbers with reference to the text.
●● Select several key scenes to focus on and find out: what else happens in that scene;
what we learn about the characters; which themes are relevant.
Grid work
Character and theme grids
(see Resource F and G) Use these to re-cap key scenes and characters. There are teacher’s
notes available (see Resource E) for quick reference and to help make links between scenes
and themes.
Quotation grid
(see Resource I) Hand out the key quotations. Ask students to decide who might have said
each one. Next, order them chronologically. Finally, group them according to theme. There is
also a teacher’s copy (see Resource H) with references, sorted according to themes.

Circle time
Arrange students into two circles, one inside the other, so that everybody is sat facing a partner.
Pose a question and give students in the outside circle one minute to answer “yes” or “no” and
to explain their choice. Those on the inside circle will then get one minute to argue the opposing
side. After each question, rotate the inner circle one seat to the left, so that students have a
new partner each time. Of course, you could adapt this exercise to suit your needs; instead
of yes/no questions, you could give students key quotations, themes or characters to discuss.
Example questions:
●● Does Bassanio love Portia? ●● Is Jessica using Lorenzo?
●● Does Portia love Bassanio? ●● Does the play have a happy ending?
●● Is Antonio to blame? ●● Was Shakespeare an Anti-Semite?
●● Is Shylock a villain? ●● Can the play still be funny today?
Hitting the news
Ask students to consider how the events of the play might be reported and received. This could be
done in a variety of different ways:
●● Newspaper article.
●● Script for/performance of a radio news segment.
●● Script for/performance of a TV news programme.
●● A live twitter feed that follows the events of the play.
●● A script for/performance of an informal chat show, in which they discuss the play’s events.
Students should adapt their language according to the form, purpose and audience of the piece (this
exercise can also be used as preparation for language exams). They should also consider if they need
a bias. See here for an example of this:
http://www.bbc.co.uk/drama/shakespeare/60secondshakespeare/themes_merchant.shtml
Cutting the script
Introduce the idea that most modern productions of Shakespeare’s plays are abridged. For an example
see here:
http://www.shakespearesglobe.com/uploads/files/2015/02/the_merchant_of_venice_1998.pdf
Put the students into groups and assign each group a different scene. Ask them to pretend that they
are producing an adaptation. They should first of all decide on an "angle" or overall objective (eg, they
might decide that they want to focus on the message that friendship is priceless). Ask them then to read
through the scene together and cut any lines that they think are unnecessary. Discuss their choices.

Pitching an idea
This could be a continuation of the activity above.
In groups, students should think of different possible settings for adaptations of the play. Show this
trailer https://www.youtube.com/watch?v=JNM8CiMd5pw as an example. Once they have decided
on a setting, each group should prepare a presentation to pitch their idea. The teacher and the rest of
the class are investors who groups must persuade in order to get funding for their play.
Presentations could include:
●● A scripted, verbal pitch justifying all ●● Costume designs.

decisions and linking choices back to
the text. ●● Staging design.
●● A PowerPoint/Prezi presentation. ●● A musical soundtrack.
●● An image board showing setting/ ●● A trailer (if technology allows).

potential props.
●● A lighting plan for key scenes.
Extension
As an extension of the activity above, ask students to pretend that all of these adaptations were
actually made. They should then write reviews of each other’s productions. You could use this
review of the recent Hamlet production as a style model:
http://variety.com/2015/legit/reviews/hamlet-review-benedict-cumberbatch-1201577724/
Performing a monologue
Ask students to choose a monologue from the play to rehearse and perform. If possible, they could
also design/create a set for their monologue.
Watch this video for inspiration, and discus how the setting of the speech alters its meaning:
https://www.youtube.com/watch?v=FC8KMnC3O_4
Be creative
Challenge students to make their own revision aids or games. You could assign key themes, characters
or scenes and ask them to create a revision aid or activity with that focus. To encourage creativity
you might want to apply some rules to the challenge. For example, the revision aid has to be three-
dimensional and have a moveable part. Some memorable examples have included character Jenga
(in which every block drawn from the stack had a character-specific question on it) and theme-based
pass the parcel.

RESOURCE A:
Scene cards
Act____ Scene____ Act____ Scene____
Shylock talks to Tubal about Bassanio and Gratiano give
Jessica’s disappearance. up their rings.

Solanio and Salarino talk about Shylock’s Antonio is arrested.
reaction to Jessica’s disappearance.

Shylock goes out, asking Jessica to stay Jessica says goodbye to Launcelot.
in and keep the house locked.

The Prince of Arragon chooses Portia and Nerissa talk about the
the silver casket. task with the caskets.

Lorenzo and Jessica talk about music. Launcelot plays a trick on his father.

Bassanio asks Antonio if he can Jessica runs away with Lorenzo.
borrow some money.

Bassanio chooses the lead casket. The court case.

Bassanio and Antonio ask The Prince of Morocco chooses
Shylock for a loan. the gold casket.

RESOURCE B:
Source texts information sheet
Il Pecorone
Il Pecorone, which translates as The Dunce or Simpleton, is a collection of tales by Giovanni
Fiorentino written in the 14th century and published in Italy in 1558. There is no evidence that an
English translation existed at the time and it is still disputed whether Shakespeare knew enough
Italian to have read it in the original, or if it is more likely that he was told the story verbally. In this
version, the details of the debt and court case are resoundingly similar to those in The Merchant
of Venice, but Shakespeare does make major edits elsewhere: the Antonio character becomes
Bassanio’s friend rather than his godfather; the character of the nameless Jewish moneylender is
developed into Shylock; the caskets storyline, the Jessica/Lorenzo subplot, and the “fool” figure of
Launcelot Gobbo are all added.
For the full text in translation:

http://merchantofvenice.weebly.com/uploads/1/4/2/6/1426390/il_pecorone.pdf
For a summary of the story:
http://resources.mhs.vic.edu.au/merchantofvenice/historical/sources.html
Gesta Romanorum
Gesta Romanorum, or The Deeds of Romans, was a collection of short, moralistic stories and
anecdotes. Dating from around the 14th century, this text was written in Latin and is thought to have
been produced in England as material for preachers to use in their sermons. The casket storyline in
The Merchant of Venice is thought to have come from here and from a story in which the daughter
of the King of Naples is subject to the test before she is allowed to marry the Emperor’s son. She
also gets lost at sea and eaten by a whale first, both of which Shakespeare omits!
For the relevant extract and more information:

http://userpages.umbc.edu/~rfarabau/engl250h/wiki/index.php?page=Casket_Mythology
The Jew of Malta

The Jew of Malta is a famous play written by one of Shakespeare’s contemporaries, Christopher
Marlowe, in about 1589.The play tells the story of Barabas, a successful Jewish merchant, who is
stripped of his wealth and seeks vengeance. Marlowe’s play is a tragedy rather than a comedy, but
there are obvious similarities between the characters Barabas and Shylock.
For the full text:

http://www.gutenberg.org/files/901/901-h/901-h.htm
For further reading:
‘Shakespeare's Marlowe’ by Professor Robert A. Loga

RESOURCE C:
Top Trumps basic layout

RESOURCE D:
‘A stage where every man must play a part’
(I.i): archetypal Shakespearean characters
The Protagonist
From the Greek: prōtos, meaning first in importance and agōnistēs, meaning actor.
The protagonist is the character who drives the action and who most of the plot revolves around. As an
audience, we are usually encouraged to empathise with this character the most and often the success of
the play will depend on our emotional reactions to what happens to them. They are often referred to as the
“hero” and thought of as being a “good” character, but it can be more complicated than this. Shakespeare’s
tragedies, for example, often feature a “tragic hero” protagonist, who meets their death at least in part due
to their own failings and flaws. The Merchant of Venice is interesting as there is no clear protagonist. While
the obvious choice would be Antonio, he is actually a relatively passive character. Some would, in fact,
argue that it is Portia who really deserves the title.
Other Shakespearean protagonists:

Othello (Othello), Romeo (Romeo and Juliet), Katherine (The Taming of the Shrew)
The Malcontent
From the French: mal, meaning ill or wrong and content, meaning satisfied.
The malcontent is a character who is dissatisfied with their lot in life. They could be unhappy with their
social position, their love life or their financial situation. Whatever it is, they are not content. Be careful,
though: not all malcontents are villains and not every character who has a problem is a malcontent. This
label is usually reserved for the really miserable ones.
Other Shakespearean malcontents:

Hamlet (Hamlet), Iago (Othello), Don Jon (Much Ado About Nothing), Caliban (The Tempest)
The Antagonist
From the Greek: antagonistes, meaning competitor or rival.
The antagonist is the character who works against the protagonist. Often labelled as the “villain”, they are
usually the reason why plans go awry and this is exactly why they are structurally important: every story
needs some sort of conflict to create dramatic tension. The term “antagonist” is often more useful than
“villain” as it also covers characters who cause conflict without necessarily having malicious intent. Some,
for example, argue that Hamlet is both the protagonist and antagonist in Hamlet as his own doubts are
what often prevent him from acting. Shylock too is certainly an antagonistic character, but it is perhaps
debatable whether he is also a “villain’.
Other Shakespearean antagonists:

Iago (Othello), Tybalt (Romeo & Juliet), Aaron (Titus Andronicus)

RESOURCE D:
‘A stage where every man must play a part’
(I.i): archetypal Shakespearean characters
The Lovers
The ideal Renaissance man was expected to excel in all areas.
This included being eloquent and chivalrous when it came to courtship. The word “courtship” stems
from the idea of “courtly” love, which belongs to the upper classes and is controlled by a complex
system of rules and regulations. Shakespeare often mocks the idea of courtly love and either
exaggerates or subverts stereotypical characteristics for comic effect. In The Merchant of Venice,
Portia’s interactions with the suitors expose the superficiality of the courting process, while Bassanio’s
monetary troubles make his motivations suspicious.
Characteristics of a male lover: pining; punching above his weight; affections are often unrequited;
composes poetry/music to impress his love; he approaches her, often at her father’s house.
Characteristics of a female lover: secluded; chaste and obedient; often disdainful; often sets
challenges as tests of devotion; usually eloquent and well educated.
Other Shakespearean lovers:

Romeo and Juliet (Romeo and Juliet), Rosalind and Orlando (As You Like It),
Katherine and Petruchio (The Taming of the Shrew)
The Fool
The fool (or clown) is usually a character with a lower social status.
Often, they are explicitly referred to as a “fool” or act as a kind of jester, but not always. In Much Ado
about Nothing, for example, the dramatic function of the role is filled by Dogberry and the rest of the
Watch. Traditionally the role offers comic relief and was very popular on the early modern stage; their
low status allowed these characters to make rude and impolite jokes, often at the expense of some of
the main characters. Although you might expect a “fool” to be “foolish”, Shakespeare often plays with
the role, and makes this character a wise one, who can see truths that his social superiors miss. In The
Merchant of Venice, Launcelot Gobbo is the principle fool, but it is interesting also to note Gratiano’s
reference to “play[ing] the fool” in Act 1.
Other Shakespearean fools:

Feste (Twelfth Night), Trinculo (The Tempest), The Fool (King Lear),
Dogberry (Much Ado About Nothing)

RESOURCE E:
Themes and key scenes: teacher’s notes
Money Revenge
Key scenes: Key scenes:
I.i: Bassanio asks Antonio for a loan. I.iii: Shylock recalls Antonio’s previous
treatment of him.
I.iii: Bassanio and Antonio meet with Shylock
and agree to the terms of the loan. II.ii: Launcelot talks about not wanting to
work for “the Jew”.
II.iv: Lorenzo tells his friends that Jessica
plans to take money from Shylock’s house. II.viii: Solanio and Salarino laugh at Shylock’s
supposed reaction to Jessica’s elopement
II.v: Shylock talks about dreaming of money,
(‘O my ducats! O my daughter!’).
and instructs Jessica to lock up the house.
III.i: Solanio and Salarino mock Shylock; he
II.vi: Jessica gilds herself as she flees
responds with his “Hath not a Jew eyes?”
with Lorenzo.
speech.
II.vii: Morocco chooses the gold casket.
III.v: Launcelot tells Jessica that she cannot
II.viii: We hear about Shylock’s supposed ever enter heaven because she is a Jew’s
reaction to Jessica’s elopement (“O my daughter; Lorenzo accuses Launcelot of
ducats! O my daughter!”). getting a black girl pregnant.
II.ix: Arragon chooses the silver casket. IV.i: The courtroom scene: various
III.ii: Bassanio chooses the lead casket, discriminatory insults are traded between
correctly supposing that he should not be Shylock and the Christian characters;
deceived by the ornamental appearance Shylock calls attention to the fact that
of gold and silver. slavery was practised in Venice at this time.
IV.i: Shylock refuses to take money over

flesh and is eventually stripped of his
wealth by the court.
Prejudice and discrimination

Key scenes:
I.iii: Shylock comes up with the “pound of flesh” amendment to the bond.
III.i: Shylock swears he will seek revenge.
III.ii: A letter arrives at Belmont to say that Antonio will be taken to court; Portia sends Bassanio
with money to save his friend.
III.iii: Antonio is arrested at Shylock’s demand.
IV.i: The courtroom scene in which Shylock speaks again of vengeance before eventually being
thwarted by Portia.

RESOURCE E:
Themes and key scenes: teacher’s notes
Love and courtship Friendship

Key scenes: Key scenes:
I.i: Bassanio asks Antonio for a loan (if we I.iii: Bassanio asks Antonio for a loan.
consider the reading that Antonio is in love I.ii: Portia and Nerissa gossip about the
with his friend). suitors.
I.ii: Portia and Nerissa talk about her suitors. I.iii: Bassanio and Antonio meet with Shylock
II.ii: Bassanio cautions Gratiano about his and agree to the terms of the loan.
behaviour- he is worried that Gratiano might II.ii: Bassanio cautions Gratiano about his
endanger his courtship of Portia. behaviour.
II.iii: Jessica plans to elope with Lorenzo. II.vi: Bassanio’s friends help him to elope
with Jessica.
II.vi: Jessica elopes with Lorenzo.
II.ix: Solanio and Salarino discuss Antonio
II.ix: Solanio and Salarino discuss Antonio and Bassanio’s relationship.
and Bassanio’s relationship.
III.ii: A letter arrives at Belmont to say that
III.ii: Bassanio chooses the lead casket; Portia Antonio will be taken to court; Portia sends
appears overjoyed, offering herself to him in Bassanio with money to save his friend.
marriage.
IV.i: Antonio’s friends speak up for him in
IV.i: Portia and Nerissa (disguised) persuade court; Bassanio declares that he would lose
Bassanio and Gratiano to give up their rings. everything (even Portia) if it meant that he
could save Antonio.
V.i: Lorenzo and Jessica talk of love and music
in the garden at Belmont; the others return
and Portia and Nerissa are reunited with
Bassanio and Gratiano.

18
RESOURCE F: Character grid
Key characteristics Relationships Key quotations
How do they act? What do they believe? How do they interact with the other Choose at least three quotations for each
Think about their attitude and opinions. character? Who are they loyal to? character. Try to choose quotations that
Who do they hate? show different sides to the character.

Shylock

Antonio

Bassanio

Portia

Jessica
19
RESOURCE G: Themes grid
Key scenes Characters Key quotations
When is this theme explored in the play? Which characters do you associate with Choose at least three quotations for each
Write down all of the scenes you can this theme? Why? What do they learn? theme. Try to choose quotations that
think of that apply. Is there a moral message here? show how the theme can be interpreted
in different ways.

Friendship

Money

Prejudice

Love

Revenge
20
RESOURCE H: Quotations grid: teacher copy

Friendship Prejudice Love/Courtship Revenge Money
“My purse, my person, “I am as like to call thee “I think he only loves the “The villainy you teach “To you, Antonio, I owe
my extremest means so again, to spit on world for him” me I will execute” the most in money and

Lie all unlocked to your thee again” in love”
occasions”
(II.ix Solanio on Antonio
(I.i Antonio to Bassanio) (I.iii Antonio to Shylock) and Bassanio) (III.i Shylock) (I.i Bassanio)
“The dearest friend to me, “You call me misbeliever, “Myself and what is “Let him look to his bond” “I would my daughter
the kindest man” cut-throat dog” mine, to you and yours is were dead at my foot,
now converted” and the jewels in her ear”
(III.ii Bassanio to Portia) (I.iii Shylock to Antonio) (III.ii Portia to Bassanio) (III.i Shylock on Antonio) (III.i Shylock)
“I am a tainted wether “Suff’rance is the badge “her sunny locks hang on “The pound of flesh… ‘tis “The world is still
of the flock, meetest for of all our tribe” her temples like a golden mine, and I will have it” deceived with ornament”
death” fleece”
(IV.i Antonio to Bassanio) (I.iii Shylock) (I.i Bassanio on Portia) (IV.i Shylock) (III.ii Bassanio)
“Life itself, my wife, “He tells me flatly there’s “Is it not hard, Nerissa, “I am content” “To quit the fine for one
and all the world, are no mercy for me in that I cannot choose one, half of his goods I am
not with me esteemed heaven, because I am a nor refuse none?” content”
above thy life” Jew’s daughter”
(IV.i Bassanio to Antonio) (III.v- Portia) (I.ii Portia) (IV.i Shylock) (IV.i Antonio)
21
RESOURCE H: Quotations grid: student copy
“Myself and what “I am as like to call “My purse, my “The villainy you “I think he only loves
is mine, to you thee so again, to spit person, my extremest teach me I will the world for him”
and yours is now on thee again” means Lie all execute”
converted” unlocked to your
occasions”

“Suff’rance is the “Is it not hard, Nerissa, “To quit the fine for one “her sunny locks hang “I would my daughter
badge of all our tribe” that I cannot choose half of his goods I am on her temples like a were dead at my foot,
one, nor refuse none?” content” golden fleece” and the jewels in her
ear”
“I am a tainted “Life itself, my wife, “To you, Antonio, “Let him look to his “The pound of flesh…
wether of the flock, and all the world, are I owe the most in bond” ‘tis mine, and I will
meetest for death” not with me esteemed money and in love” have it”
above thy life.”
“The world is still “He tells me flatly “The dearest friend to “I am content” “You call me
deceived with there’s no mercy me, the kindest man” misbeliever, cut-
ornament” for me in heaven, throat dog”
because I am a Jew’s
daughter”
Act 1 Scene 1
Summary
The play opens with Antonio wondering why he is so sad. His friends Salarino and Solanio suggest it
may be because he is worried about his ships, which are all still at sea with their cargoes, but Antonio
denies that this is the cause. He also says that love is not the problem, at which point Bassanio, Lorenzo
and Gratiano enter. Gratiano attempts to cheer Antonio up by playing the fool (see information on
character archetypes in the introductory material) but is unsuccessful. The focus of the discussion
then shifts to Bassanio, who tells Antonio about Portia, who he wishes to marry. He asks Antonio for
money so that he can woo Portia. Although Antonio doesn’t have the cash at the moment, he agrees
to take out a loan on Bassanio’s behalf, using his ships as surety.
Key quotations
Focusing on the theme of identity:

“I have much ado to know myself” (Antonio: I.i.7)
“A stage where every man must play a part” (Antonio: I.i.78)
“Let me play the Fool” (Gratiano: I.i.79)
Analysing Bassanio and Antonio’s relationship:

“To you, Antonio, I owe the most in money and in love” (Bassanio to Antonio: I.i.129/30)
“My purse, my person, my extremest means, lie all unlocked to your occasions.” (Antonio to
Bassanio: I.i.137/8)
Activity ideas
Asking for a favour
How does Bassanio persuade Antonio to lend him more money? Why does Antonio agree?
Drama
Ask the students to in pairs to improvise a scene in which one of them is trying to persuade the other
to lend them money. Discuss different tactics and responses, and then look again at the conversation
between Antonio and Bassanio. Does anything strike them as odd? Highlight the flaws in Bassanio’s logic,
for example lines 139-151, where he argues that if he “shoots” more money after what he’s previously
borrowed, he can get it all back. Then discuss potential reasons why Antonio agrees so readily.
Challenge
Ask students to rehearse the scene in pairs, giving them each pair a “secret” emotion to explore.
Discuss which interpretation fits the text the most.
For example:
●● Perhaps he feels obligated or is just bored of listening to Bassanio’s plea.

●● Antonio and Bassanio actually dislike each other.
●● Antonio is in love with Bassanio.
●● Antonio is annoyed by Bassanio.

Kinaesthetic
Write the words “love”, “loyalty”, “pride”, “fear” and “nonchalance” around the room. Ask students
to move to whichever emotion they think Antonio is feeling when he agrees to help Bassanio. They
should then explain their reasoning and discuss various possible motivations.
Challenge
Students move to whichever emotion they think is least relevant. Here, they should construct a
written or oral argument to support this least relevant emotion as Antonio’s main motivation.
Push them to use quotations from the scene in support of their points. This activity could then
lead into a more formal class debate.
Written
Ask students to research and design a leaflet advising people on how to deal with debt. Link this back
to the play by asking students to predict what might happen to Antonio and Bassanio as a result of
their borrowing. Structurally, what kind of storyline would have the most dramatic effect? Students
could then design storyboards and chart the arc of their own Antonio/Bassanio story. Encourage
them to consider how each story would affect an audience.
If you don’t mind spoilers, students could then repeat the exercise for the actual storyline (again just
focusing on these two characters). Focus on the dramatic function of their relationship by asking the
students why it is needed in the play. What would we lose if their relationship wasn’t there or was
different?
Possible answers here might include:
●● We would never see how faithful and self-sacrificing Antonio can be.
●● We might not understand how much Bassanio needs others to guide him.
●● We might not learn any moral lesson about debt and money management.
●● Bassanio would never be able to woo Portia and so give her the opportunity to speak in
the court scene.
NB: this might be a good place to look at the source text Il Pecorone from the introductory resources
section. Why does Shakespeare turn Antonio from godfather to friend?

Discussion
What initial impression do we get of Antonio? Why does Shakespeare present him in this way?
Ask students what makes them feel sad and unable to focus. Link this to the term “a want-wit”
(someone lacking in intelligence). What might make Antonio feel this way?
Look at his reaction to the idea that he might be in love: “fie, fie!” (a word to express disgust
or disagreement)
Ask students, to work in pairs to rehearse this two line exchange:
Solanio: Why then, you are in love.

Antonio: Fie, fie!
They should experiment with different intonation and gesture. How does Antonio feel about the idea
of being in love? Why might this be relevant later? This might be a good point to introduce the idea
that Antonio and Bassanio could be lovers. How does this interpretation add to the tension of the
play? See this video summary of the play from director Polly Findlay:
https://www.tes.com/teaching-resource/the-merchant-of-venice-2015-film-synopsis-11081412
For further reading see ‘The Rights of Queer Marriage in The Merchant of Venice’ by Arthur L. Little Jr.
in Shakesqueer, ed. Madhavi Menon.
Figurative language in Salarino’s speech about the dangers of the sea
Visual
Split the speech into key phrases (see Resource 1A) and give students one phrase each. They should
look up the terminology if necessary and then draw a visual representation of their line or phrase.
Some of these phrases will be easier to tackle, so could be given to students who might struggle more
with the task.
Once all the images are complete, put them in order and discuss the overall impression that
the group gets from them.
●● Read through the speech again. What effect does the imagery create?
●● Do any of the images need to be changed? Why/why not?
●● Discuss what Shakespeare’s use of language shows us about Salarino’s character. For
example, that he is anxious; concerned about losing his wealth; perhaps hyperbolic and
extreme in his manner.
●● For further discussion, think about what we can infer about Antonio’s character when
he disagrees. Is he perhaps not as concerned about money? Is he more sensible and
grounded than Salarino? This might make his dangerous acceptance of Shylock’s odds
more interesting later in the play.

Written
Ask students to think about what makes them anxious and write one sentence to describe this feeling.
Challenge them to use purely literal language first and then repeat the exercise, asking them to use
similes or metaphors. Compare the literal and the figurative descriptions. Which one is more effective?
Why does Shakespeare use figurative language?
Support option Challenge
Draw images or symbols and label this with Ask students to discuss whether it is even
key words. Discuss the connotations of the possible to talk about emotions without using
colours and shapes used. figurative language.
Act 1 Scene 2
Summary
Portia and Nerissa are talking about Portia’s father’s will. Nerissa explains that he has devised a game
or “lottery” to decide who will get to marry Portia. Potential suitors must choose one of three caskets:
gold, silver or lead. Only one casket is “correct” and whoever chooses it will get to marry Portia. Portia
despairs of the fact that she has no right to choose her own husband, and she and Nerissa then mock
the suitors. Each suitor is of a different nationality and their mockery depends on the stereotypical
characteristics of that nationality (eg, the German duke is a drunk). Portia doesn’t want to marry
any of them and Nerissa tells Portia that the suitors have decided to leave anyway. They then recall
Bassanio from a previous visit as being “worthy of praise”. The scene ends as a servant announces the
arrival of a new suitor, the Prince of Morocco.
Key quotations
Focusing on Portia’s dilemma:

“my little body is aweary of this great world” (Portia: I.ii.1/2)
“they are as sick that surfeit with too much as they that starve with nothing” (Nerissa: I.ii.5)
“is it not hard, Nerissa, that I cannot choose one, nor refuse none?” (Portia: I.ii.21/22)
Historical context
Neoclassicism in the Renaissance period
When Bassanio tells Antonio about Portia in Act 1, he does so with reference to classical
history and mythology:
Her name is Portia, nothing undervalued

Bassanio:
To Cato’s daughter, Brutus’ Portia…
… her sunny locks hang on her temples like a golden fleece,
Which makes her seat of Belmont Colchos’ strand,
And many Jasons come in quest of her
The term “Renaissance” means “rebirth” and refers to the fact that there was a great revival of
classical Greek and Roman culture between the 14th and 17th centuries. The movement began in Italy
and spread to England. In Shakespeare’s time it would have been expected for education to include

reference to classical literature, politics, history and art. Bassanio’s use of classical referencing is not
only a sign of the character’s class and education, but also an opportunity for Shakespeare to show
off his own knowledge.
Research point
Ask students to research how the figure of Portia, Brutus’ wife, is presented in history and
literature texts (notably in Shakespeare’s own Julius Caesar). What is she most praised for?
What does her story tell us about how women were expected to behave?
Activity ideas
Drama
Introduce the term “exposition”.
“Expostition”
The act of using dialogue in order to expose back story to the audience.
For example: when Nerissa goes over the terms of the will, she doesn’t need to say this; Portia
already knows them. The details are included to expose the backstory to the audience.
Explore this technique further by asking students to script a conversation between two friends. The
subject of the conversation can be of their choosing (a breakup or a fight would work well), but they
have to use exposition to reveal details about the speakers’ past relationship to the audience. The
hard part is to make it as subtle as possible.
Challenge
Discuss the possible effects of exposition for an audience. Can it disrupt the realism of the
piece? Does it matter if we are aware that what we are watching isn’t real? How else could we
find out this information?
Reading
Point out that the text shifts from verse in Scene 1 to prose in Scene 2. Why might this be? Encourage
the students to try reading random extracts from each scene out loud, paying attention to the rhythm
and tone of the lines. Why might Shakespeare have made this change?
Guiding questions might include:
●● Where are the scenes set?
●● Which scene is the most private?
●● How at ease are the characters with each other?
●● Which sounds more conversational, verse or prose?

Prose speech in Shakespeare is often a sign of a lower-class or less-educated character, which is
obviously not true of Portia. So why does Shakespeare use prose here? It perhaps makes her seem
relaxed and at ease, giving us the impression that this is a more genuine reflection of character than,
for example, when Bassanio speaks in metaphors and verse. It might be interesting to discuss whether
or not sophistication is always a good thing in this play.
Active
Pin different images of Elizabethan women around the room. These can be found quite easily through
an internet search, or you could set a home learning task and ask students to find their own images
and bring these to class.
Challenge students to use the images as clues to decipher what life was like for women in this period
and ask them to weigh up the pros and cons. Would they like to have been born into this time? This
question could be asked of the boys as well. Would they like to have lived with mothers/wives who
acted like this?
Next, ask them how they feel about Portia’s situation. Is it fair? How does Nerissa feel about it? Her
attitude is actually very interesting; she basically tells Portia to count her blessings.
Discussion
If you wanted to approach this issue from a human rights perspective, you could try an activity that
temporarily takes away some of the rights of the students in the room. Hand out “tickets” (or scraps
of coloured paper) at the door and then announce “rules” for students to follow.
For example:
●● Anyone with a blue ticket has to sit on the floor.
●● Yellow tickets aren’t allowed to talk.
●● Pink tickets get a free biscuit.
●● Green tickets can put their feet up on the table.
The rules can be customised depending on the class and the freedoms that they value the most.
Uphold the rules as you read through the scene and see how long it takes for students to complain.
Ask them to reflect honestly on how they felt during the exercise and make links with characters from
The Merchant of Venice. At this point in the play this most obviously applies to Portia, but it would
also be a good introductory exercise for Shylock (who we meet next) or could be used to consider
how students view each other. For example, do the people sitting on the floor feel sorry for each
other? Do the more privileged sympathise with the less privileged? Would they offer to swap?

Useful links
For further reading on Elizabethan women, see here:

http://www.elizabethan-era.org.uk/elizabethan-women.htm
For further reading on a feminist viewpoint:

http://www2.cedarcrest.edu/academic/eng/lfletcher/venice/papers/acaravel.htm
Act 1 Scene 3
Summary
The scene opens with Shylock and Bassanio negotiating the terms of a loan for 3000 ducats. Shylock
agrees, on the understanding that Antonio is the one responsible for paying him back. Bassanio invites
Shylock to dine with them, which Shylock refuses to do as they are not Jewish. When Antonio enters,
Shylock’s aside makes it clear that he dislikes him because: he is a Christian; he lends money “gratis”
(or “free”), which stops people borrowing money from Shylock and paying interest; he does not like
Jews; he has spoken out against usury publically (for more on usury see the historical context section
below). Antonio makes it clear that he would never borrow from Shylock for himself, but is making
an exception for Bassanio. Shylock tells the story of Jacob and his sheep to support usury, while
Antonio disagrees with him and warns Basanio not to be deceived. There follows a lengthy speech
from Shylock about how Antonio has treated him with disgust in the past. Antonio admits that they
are enemies, but points out that this shouldn’t stop them having a business arrangement. Shylock
claims that he wants Antonio’s friendship and offers not to put interest on the loan ─ instead, he will
take a pound of flesh if Antonio is unable to pay him back on time. Antionio agrees to this, although
Bassanio has some misgivings.
Key quotations
Focusing on religion/anti-Semitism:
“I hate him for he is a Christian” (Shylock on Antonio: I.iii.34)
“suff-rance is the badge of all our tribe” (Shylock: I.iii.102)
“You that did void your rheum upon my beard” (Shylock: I.iii.109)
Focusing on Shylock’s deal:

“I’ll seal to such a bond, and say there is much kindness in the Jew” (Antonio: I.iii.145/6)
“I like not fair terms and a villain’s mind” (Bassanio: I.iii.172)
Historical context
Judaism
In England:
●● After centuries of persecution, Jews were expelled from England in 1290, when Edward
I issued the Edict of Expulsion (in part to gain public favour, after also introducing steep
new taxes). For more detail see here: http://www.bbc.co.uk/religion/religions/judaism/
history/350.shtml

●● There were, however, still “converted” Jews living in England in Shakespeare’s time. Many
of them were viewed with suspicion, and there was even a name for those who had falsely
converted to Christianity, but still practised Judaism in secret: the “Marrano Jew”.
●● Jewish characters are common on the early modern stage, although almost always as a
villain, or as an unrealistic, ridiculous figure to be mocked.
●● In1593 Doctor Roderigo Lopez was tried and executed for treason. He was a Spanish Jew
who had converted to Christianity and worked as physician to Queen Elizabeth I. He was
accused of being part of a conspiracy to poison the queen and the trial gathered immense
public interest. It is interesting to note that Elizabeth delayed significantly in signing
his death warrant, which has been taken by some as evidence that she was not fully
convinced of his guilt.
In Italy:
●● Jews were allowed to live and practise usury in Venice from 1385, but their freedoms were
greatly restricted. They could lend money and sell used clothes, but any other business
was prohibited. They could not own land. They had to wear a yellow signifier of their
religion (at various points a badge/scarf/hat).
●● In 1516 Jews were segregated into a ghetto within Venice. It was called the "Guetto Nuovo"
and it was an open square surrounded by water. There were two bridges to enter/exit, but
the gates were shut from sundown to sunrise and always guarded.
●● “Usury” refers to the practice of lending money at interest. It is something that Christians
are prohibited from doing, and which Antonio in The Merchant of Venice is disgusted by.
It is actually also prohibited for Jews to practise usury when lending money to other Jews,
but this rule does not apply when lending to somebody outside their faith.
Further reading
James Shapiro, Shakespeare and the Jews.
Peter Berek, The Jew as a Renaissance Man.
For more information on the way this issue has been tackled on stage, see the introduction in
Miriam Gilbert, Shakespeare at Stratford: The Merchant of Venice.

Activity ideas
Discussion
Activity one
Direct students to the following website, which has an extract from Frances Bacon’s On Usury
along with some relevant bible passages:
http://resources.mhs.vic.edu.au/merchantofvenice/historical/usury.html.
Use this to feed into a discussion about usury. Do students agree with it? Who do they side
with: Antonio or Shylock?
Activity two
Show a TV advert for payday loans and then ask students for their opinions on modern loan
companies. Can this be compared with Shylock’s money lending? Do students think that this
is a moral issue? Should such companies be made illegal? If it suits the group, set further
research tasks to prepare for a proper debate over the issue.
Useful links:
Payday loans advert: https://www.youtube.com/watch?v=97r6PPv_ojM
Full-length documentary about payday loans: https://www.youtube.com/watch?v=-yWxTvffbuE
Activity three:
Ask students how they think Shylock should be portrayed on a modern stage. What would
we have to consider? How would a modern portrayal of this character differ from earlier
representations?
You can refer to this article to help support discussion:

http://www.telegraph.co.uk/culture/theatre/theatre-features/11494366/Shakespeare-and-
antisemitism-why-RSC-staging-of-Jewish-plays-matters.html
Visual
We are not told exactly where in Venice this scene takes place, so ask students to explore their own
ideas for the setting. There are several options for how this could be done:
●● Dress a physical “stage” and create a lighting/sound plan for the scene.
●● Draw a labelled bird’s-eye-view plan of the stage.
●● Make a collage of images that students associate with the scene.
●● Create a soundtrack for the scene.
●● Write a creative prose piece to describe the place and atmosphere.
Whichever option you choose, you should ask students to justify their ideas.

Research point
Look at images from past productions of the play (the RSC website is a good place to start)
and compare the different styles. Which production do students think would be the most
successful? Why?
Reading
Give students copies of Shylock’s “Signor Antonio” speech (see Resource 1B). They should use the
worksheet provided to help them to annotate the language thoroughly. Questions requiring a longer
answer are underlined, and “challenge” questions are optional. See also the pre-annotated copy of the
speech for teachers.
Drama
Give each student one of Shylock’s lines from this scene. Ask them to walk around the room, practising
their line over and over again to themselves. Hopefully they won’t be too self-conscious if everybody
is doing the same thing. Ask them to experiment with volume, pitch and emphasis until they are happy
with the line and to then keep practising until they don’t need to look at the paper anymore.
Ask the class to form a circle and position one student (or, better yet, somebody who doesn’t know the
play) in the middle with their eyes shut. Ask the students to deliver their lines one a time (the order
shouldn’t really matter) and then ask the person in the middle to report back on what impression
they get of this character and why. Now repeat the exercise, this time experimenting with all of
the students talking together and on repeat. Discuss the possible emotions that could be motivating
Shylock in this scene.
NB: If students are particularly reticent, they can face outwards in the circle so they don’t have to
make eye contact with anyone.
Useful links
To watch a version of this scene see here:

http://www.rsc.org.uk/education/resources/bank/the-merchant-of-venice/videos/
For useful notes on how to perform Shakespeare, see here:

http://www.esu.org/__data/assets/pdf_file/0019/17227/Performing-Shakespeare-Participants-
Handbook-2013-v3.pdf
For a clear breakdown of linguistic terminology, see Rex Gibson, Teaching Shakespeare.

Essay and exam practice: Act 1
Please note that each exam board uses a slightly different style of question so while the skills are
the same, these practice materials might not be the same layout/wording that your board will use.
See Resource 1C for a sample extract question
Ask students to plan and/or write answers for the following questions beginning with Act 1, and then
linking the theme to the rest of the play if possible. They should also make reference to the context
of the play.
How does Shakespeare present the theme of friendship?
●● Explain how identity is important in The Merchant of Venice.
●● Write about how Shakespeare explores wealth and greed in The Merchant of Venice.
●● Explain how far you think that Shakespeare presents Shylock as a powerful character.
●● Explore the ways in which courtship is presented.

RESOURCE 1A:
Key phrases from Salarino’s speech
My wind cooling kiss her burial

my broth
blow me to an ague the holy edifice of one
a wind too great dangerous rocks
the sandy hourglass my gentle vessel’s side
of shallows and scatter all her spices

of flats on the stream
my wealthy Andrew enrobe the roaring

docked in sand waters with my silks
Vailing her high top

Now worth nothing
lower than her ribs

RESOURCE 1B:
Teacher’s notes
Alliterative “r”sound
(or rhotic consonant)
Signior Antonio, many a time and oft helps to emphasise the
word “rated”, which
In the Rialto you have rated me
Commercial centre of Venice. means to berate.
About my moneys and my usances:
Lending money at interest:
Still have I borne it with a patient shrug, see notes on usury.
Sibiliance: creates a
harsh, aggressive tone. For sufferance is the badge of all our tribe. Note the collective
pronoun, indicating a
You call me misbeliever, cut-throat dog, sense of belonging within
his religion. The word
And spit upon my Jewish gaberdine, "tribe" connotes pride in a
Possessive pronoun: historic cultural group, but
indicates pride in his And all for use of that which is mine own. also perhaps has negative
"gaberdine" (a type of loose or barbaric connotations.
cloak worn by Jews) and Well then, it now appears you need my help:
“beard” (which also marks
his religion, as Jewish law Go to, then; you come to me, and you say 'Shylock,
A particularly vivid way
prohibits shaving). to say spit with “void”
we would have moneys:' you say so;
functioning as a verb and
You, that did void your rheum upon my beard meaning to empty, and
“rheum” meaning phlegm
“foot”: to kick (as you And foot me as you spurn a stranger cur or mucus.
would a stray dog out
the door). Over your threshold: moneys is your suit
Rhetorical questions.
What should I say to you? Should I not say
Shylock is holding the
'Hath a dog money? is it possible floor here (dominating the
conversation.
Animalistic imagery: A cur can lend three thousand ducats?' Or
A "cur" is a scruffy, stray "bondman’” slave
dog. Shylock’s repetition Shall I bend low and in a bondman's key, “key”─tone of voice
of the insult emphasises “bated breath” held breath
how Christians saw Jews as With bated breath and whispering humbleness,
subhuman. He points out the
irony that Antonio is now Say this; 'Fair sir, you spit on me on Wednesday last;
Sarcasm:
dependent on a being that he
You spurn'd me such a day; another time Shylock is pointing out
sees as so beneath him.
here that Antonio has
You call'd me dog; and for these courtesies treated him so badly, it
should be ridiculous to
I'll lend you thus much moneys'? think he will help him now.
The use of this mocking
sarcasm perhaps betrays
how emotional he is
and the extent to which
Antonio’s cruelty has
affected him.
The speech is largely in iambic pentameter, but it slips out of this rhythm at times, as many of
the lines have slightly too many syllables, and the last line has too few. Where there are too many,
this may increase the pace at which it is spoken, creating an angry (perhaps uncontrolled) effect.
Where there are too few, the speech might feel slow and awkward. The short last line here might be
startling, as Shylock ends quite abruptly. It could perhaps throw the spotlight onto Antonio before
he is ready for it. However, there are different interpretations of this speech, and students should
be encouraged to explore and experiment with its rhythm and pace. They might, for example, find
the last line to be unsure, rather than calculated.

RESOURCE 1B:
Student worksheet
This is an abbreviated
form of which modern day
The Rialto is the busy Signior Antonio, many a time and oft adverb?
commercial centre of Venice. Why has it been shortened?
In the Rialto you have rated me
Read this line out loud.
Why is it important for us
About my moneys and my usances: Which sound stands out?
to know that this is where
What effect does this have?
Antonio insulted Shylock?
Still have I borne it with a patient shrug,
Highlight all of the personal
For sufferance is the badge of all our tribe. pronouns in the speech.
An alliterative “s” sound
is called sibilance. Read You call me misbeliever, cut-throat dog, What insight do they give
the speech out loud us into how Shylock views
again and highlight all And spit upon my Jewish gaberdine,
himself?
the examples of sibilance
that you can find. What And all for use of that which is mine own.
What is he proud of?
emotion do you think
drives these words? How Well then, it now appears you need my help:
are they meant to make
Go to, then; you come to me, and you say 'Shylock,
Antonio feel?
we would have moneys:' you say so; What did Antonio do? See if
you can work it out from what
You, that did void your rheum upon my beard you already know without
Look up the word “cur” looking the words up.
And foot me as you spurn a stranger cur
in a dictionary. Why does
Shylock use it here? Over your threshold: moneys is your suit
Are there any other What should I say to you? Should I not say
examples of animalistic Look up the terms
imagery? What effect would 'Hath a dog money? is it possible “bondman” and “key” in The
these have on the audience? Free Dictionary (online).
A cur can lend three thousand ducats?' Or Think carefully about which
Challenge: Would the definitions make the most
Shall I bend low and in a bondman's key,
reaction of a modern sense here. What is Shylock
audience be different to With bated breath and whispering humbleness, saying?
that of a contemporary
audience? Explain your Say this; 'Fair sir, you spit on me on Wednesday last;
answer.
You spurn'd me such a day; another time
You call'd me dog; and for these courtesies
I'll lend you thus much moneys'?
What kind of mood do you think Shylock is in here? Read the speech out loud and count the syllables in
each line.
Why? Support your answer.
What happens to the pace of the speech on the lines
Challenge: Include your opinion on how you think that have more or fewer syllables?
Bassanio’s character responds to this speech. Again, Are those lines particularly special?
support your points with quotations if you can.
How does this affect the overall tone of the speech?

RESOURCE 1C:
Read this extract and annotate its language features. Then answer the
question that follows it.
BASSANIO
In my school-days, when I had lost one shaft,
I shot his fellow of the self-same flight
The self-same way with more advised watch,
To find the other forth, and by adventuring both
I oft found both: I urge this childhood proof,
Because what follows is pure innocence.
I owe you much, and, like a wilful youth,
That which I owe is lost; but if you please
To shoot another arrow that self way
Which you did shoot the first, I do not doubt,
As I will watch the aim, or to find both
Or bring your latter hazard back again
And thankfully rest debtor for the first.
ANTONIO
You know me well, and herein spend but time
To wind about my love with circumstance;
And out of doubt you do me now more wrong
In making question of my uttermost
Than if you had made waste of all I have:
Then do but say to me what I should do
That in your knowledge may by me be done,
And I am prest unto it: therefore, speak.
Starting with this extract, explore how Shakespeare presents the

relationship between Antonio and Bassanio in The Merchant of Venice.

Act 2 Scene 2
Summary
In this scene we meet Launcelot Gobbo, a low-born Christian working as a servant for Shylock. The
scene opens with a comical prose monologue in which Launcelot debates leaving Shylock’s service.
As he makes the decision to “run”, he meets his father, Old Gobbo, who is blind. Launcelot plays a trick
on him, pretending that he is a stranger, but Old Gobbo believes him too well and Launcelot then has
to work to convince him of the truth. As he is explaining how he hates working for Shylock, Bassanio
and friends enter and Launcelot asks to become Bassanio’s servant instead, to which Bassanio agrees.
Gratiano enters and asks if he can accompany Bassanio to Belmont and Bassanio agrees, but advises
Gratiano that he should improve his manners when there as he is “too rude”.
Activity ideas
Drama
Explore the idea of exactly what it is that makes this scene funny by rehearsing key lines in different
ways (see Resource 2A). This task can be broken down depending on how confident the students
are at performing
●● Students start in pairs, sitting facing each other. They should take it in turns to read a line
at a time, choosing which words to emphasise. Their partner should offer feedback on
which version they found the funniest.
●● Students should then begin to adapt volume, pitch and tone and again discuss the effects.
Once they have decided on the funniest voice for each line, ask them to stand up and
repeat the exercise, this time adding gestures, movement and facial expression.
●● Merge the pairs into groups of four so that they can compare the way they are delivering
the lines. If confident, students could also present to the class, or they could film
themselves so that they can assess their own performances.
●● Ask students to think about how much the audience is involved here and which lines, if
any, would be direct address. What is the impact of this? The repetition involved in this
exercise means that it would also work as a revision aid for students learning quotations
for closed book exams.
Reading
Ask the students to colour code a copy of this scene to pick out:
●● Lines that act as exposition.
●● Lines that are purely intended for comedy.
●● Lines that show how wise these characters really are.
Focus especially on the last category and create a “Wall of Wisdom” for Launcelot, picking out
“wise” quotations and using these to explain, in note form or full paragraphs, what they tell us about
Launcelot’s character.

Extension
Hand out sets of key quotes from fools in other plays (see Resource 2B) and ask the class to
rank them: who is the wisest fool? Why?
Challenge
Why does Shakespeare use this character device? How will other characters likely respond to
wisdom from a fool? How might the audience perceive not only the fool, but also the other
characters (who may not be so wise)? Is there a didactic message here?
‘I am a Jew if I serve the Jew any longer’
With this line, Launcelot begins to question his own identity. This is a common theme in the play. It
is interesting to explore how these characters construct a sense of identity and how that might be
different to how we identify ourselves today.
Discussion
Pose the question: “who are you?” Without any further guidance, students have five minutes to
independently write an answer to this question. When they have finished, pair the students up and get
them to interview each other about the type of information that they have included in their answers.
If appropriate, construct a tally chart on the board and ask students to mark off which topics (such as
age, location, skills, religion or hobbies) they included.
Support option
Instead of writing, students could use symbols or images that they feel represent them. This
can then be used as a platform for discussion over how identity is constructed.
Reading
Find other instances in the play when identity is questioned. What causes the questioning? Is it
something that would bother people today? What has changed since the Renaissance that could
explain why we view ourselves differently?
Support option
Give references to key scenes or allocate specific groups to different scenes. Some examples:
●● Antonio in I.i, when he professes not to know himself.
●● Shylock in III.i, as he questions why being Jewish makes him different.
●● Portia in III.ii, when she presents herself to Bassanio.
●● Bassanio in II.ii when he schools Gratiano on how a gentleman should behave.

Drama
Put the students in groups of about four and assign them a key scene to work on (see list above). Ask
them to read through it, focusing on the concept of identity. How confident are these characters? How
well do they know themselves? How do they see themselves? Choose the character that they think
is most interesting in this particular scene. As a group, they should script and rehearse an interview
with that character.
The interview could take place in any setting that they think fits: a police interrogation; a BBC news
interview; a chat show style discussion; a job interview. The important thing is that students respond
to questions as they think that character would. Different roles could be allocated: key character;
interviewer; script writer; director etc. Either film or perform to the rest of the class for discussion.
For some exemplar questions for Portia (in a chat show style) see Resource 2C.
Challenge
Students should decide whether they will show the character’s “public” or “private” face here. It
might be interesting to ask them to create two scenes: one in which the character talks in front
of an audience, and one in which the character talks to a close friend or delivers a monologue.
What opinions or thoughts would they want to hide?
‘Thou art too wild, too rude, too bold of voice’
In this speech, Bassanio tells his friend Gratiano that he does not behave well enough to be well-
received in Belmont. Bassiano is worried that Portia will get a bad impression of him because of his
friend. Behaving ‘properly’ was very important in the Renaissance period. Young men and women of
the upper classes were given strict rules that they were expected to follow when in public.
Active
Hand out rules (see Resource 2D) for how courtiers were supposed to behave in the 16th century.
Ask students to circulate and try to decide which ones are real and which ones are fake — and why.
What do students already know about the period? How would they expect men to behave?
Reveal that all of the rules are real and that these are only a fraction of hundreds of edicts set down
in Castiglione’s The Book of the Courtier. Emphasise the idea that the “ideal” Renaissance man was a
master of all: a fighter; a sportsman; a lover; a musician; a politician; a friend. Is this realistic? Explore
the idea that Shakespeare might be mocking this.
Challenge
Find evidence in the text to support the point of view that Shakespeare was mocking the
concept of the “ideal” Renaissance man.

Discussion
What are the expectations of “ideal” men and women today? You could set this question as a home
learning task, and ask students to bring in images of the “ideal” to discuss. Ask students to display
their images and let them walk around the room to see them all. Are there any that might have been
considered “ideal” in the Renaissance period too? Are there any that they think would be different?
What has changed over time and why might this be? How might these changes affect modern
adaptations of the play?
It might be interesting here to show a picture of Portia from the 2011 RSC production:
http://www.rsc.org.uk/explore/shakespeare/plays/the-merchant-of-venice/production-photos.aspx.
How is she presented? Does it fit with the Portia that students know from the text?
Act 2 Scene 3
Summary
This scene introduces Jessica (Shylock’s daughter), who is sad that Lancleot will be leaving them. She
gives him a letter to pass onto Lorenzo, one of Bassiano’s friends, and Launcelot exits although he is
sorry to leave her. Jessica has a short soliloquy in which she states that she wishes to marry Lorenzo
and become a Christian.
Activity ideas
Drama
Divide the class into three groups and give them each a characteristic: bored; distraught; earnest. Ask
them to adopt a posture that suits this characteristic and then to individually read through Jessica’s
first four lines. Do they find that the characteristic suits the lines? Spotlight a few students to share
and discuss. If possible, you could also experiment with costume and staging here. How does it
change the scene if Jessica is dressed like a servant on a dark stage, or dressed finely in a rich house?
You could also consider how Jessica being played by a man dressed as a woman would change things.
If suitable, introduce Launcelot and play the scene with his response. Should he be genuine or
exaggerated and comical? Add Jessica’s final speech and see if their different interpretations can still
be convincing.
Writing
Ask students to write a letter to an agony aunt pretending to be Jessica. Explain why you are so
unhappy at home and why you might “be ashamed to be my father’s child”. They could also write a
response to each other’s letters, deciding whether to be supportive and understanding, or whether
they think she should be grateful for what she has and abide by her father’s rules. Alternatively,
students could draft their “diary room” confessionals (Big Brother style), with the option to perform
and record them.

Reading
Give students copies of Jessica’s soliloquy (see Resource 2E). They should use the worksheet
provided to help them to annotate the language thoroughly. See also the pre-annotated copy of the
Act 2 Scene 5
Summary
The scene opens with Shylock telling Launcelot that he will not find Bassanio as generous a master
as he was. He calls on Jessica to tell her that he is going to dine with Bassanio, although he does
not want to. He tells her to ensure that the house is protected against people celebrating during the
masque. Secretly, Launcelot tells Jessica that Lorenzo is going to visit her. Shylock decides that he is
glad to be rid of Launcelot and Jessica is happy that she is going to run away.
Activity ideas
Drama
Try the RSC’s “punctuation walk” exercise for Shylock’s lines in this scene. Ask students to read
Shylock’s lines to themselves as they walk around the room. Each time they hit a piece of punctuation,
they should change direction. Discuss what this makes them realise about Shylock’s character. How
does he feel in this scene? Has the exercise given them more sympathy with him, or less?
NB this exercise is useful as it helps students to explore character motivation, but it might be useful
to remind students that the punctuation as they are seeing it may not have been Shakespeare’s
work, but in all likelihood was added by an editor at the time of printing.
Useful links
For more exercises, and more details on the punctuation walk, see here:
http://downloads.bbc.co.uk/schools/teachers/offbyheart/obhs_voice_text_preparation.pdf
A useful pack with lots more physical exercises can be found here:
http://filestore.aqa.org.uk/subjects/AQA-ACTIVE-SHAKESPEARE.PDF

Reading
Put students into groups of four and ask them to analyse this scene with a particular focus:
●● Looking for references to money/possessions.

“I did dream on money bags tonight”
●● Looking for references to locks/keys/blocking openings.

“There are my keys”
●● Tracking all of the instructions and questions.

“Lock up my doors”, “But wherefore should I go?”
●● Tracking all of the verbs used.

“slepp”, “snore”, “flatter”, “feed”
Ask them to prepare a mini presentation, in which they identify patterns or points of interest and
discuss what this tells us about the characters. The groups should then be rearranged so that there is
an “expert” for each topic at each table, who will then present back to each other.
Active discussion
Label one wall with “yes” and the other with “no” and then pose questions about the scene. You can
pick and choose from the list below. Ask students to move to either wall, or in between the two,
depending on their answer to each question. They should all be ready to explain their point of view.
Allow for debate. To ensure that everybody is involved, give them each a mini whiteboard or paper
and ask them to write at least one statement in response to the question that begins “yes because…”
or “no because…”.
●● Does Shylock view Jessica as a possession?
●● Is it wrong for a father to view his daughter as a possession?
●● Is it wrong for an Elizabethan father to view his daughter as a possession?
●● Is Shylock justified in locking his house and daughter up?
●● Is Shylock an abusive father?
●● Does Shylock love his daughter?
Act 2 Scene 6
Summary
Gratiano and Salarino wait for Lorenzo outside Shylock’s house. They wonder why he is late, and
discuss the idea that the anticipation of love is more exciting than actually having it. Lorenzo arrives
and Jessica appears dressed as a boy, which she is embarrassed about. She goes inside again to get
money while Lorenzo says that he loves her because she is "wise, fair and true" before she enters
again and the two lovers leave together. Antonio enters and tells Gratiano that Bassanio’s ship is ready
to leave and they have been looking for him.

Activity ideas
In this scene, Jessica professes that she is self-conscious about the way she looks, saying “I am much
ashamed of my exchange” (“exchange” here means “disguise”), yet her decision to run away with
Lorenzo is very daring. Also, Lorenzo proclaims to still find her “lovely”, but then repeatedly reminds
her they need to hurry and don’t forget that he was late in the first place. How much of what they say
here is genuine? Are they truly in love or just using each other?
Reading
Ask students to work in pairs to read through the dialogue between Jessica and Lorenzo (you may
wish to provide a glossary for certain words here (see Resource 2F). On a first read through, ask
them to make notes, jotting down all of the emotions that Jessica is feeling in this scene. They should
then compare notes with other pairs. Do they read Jessica in the same way?
Now ask them to re-read the scene, giving them different bits of information to communicate through
how they deliver the lines. For example:
●● Lorenzo needs the money.

●● Jessica is desperate to get away from Shylock.
●● Jessica is very flirtatious.
●● Lorenzo is very impatient.
●● Lorenzo is scared.
●● Jessica is shy.
It doesn’t really matter what combination students try these in; the idea is to get them thinking about
different possible motivations and to decide which ones fit the text best. As a follow-up activity,
you could then ask students to write up their own interpretation of the scene, including counter-
arguments to defend their point of view.
Drama
Get the students in groups of four and allocate roles: Lorenzo, Jessica, Lorenzo’s observer and Jessica’s
observer. If possible, dim the lights in the room and ask the students playing Jessica to stand on a
chair or table so that they are above Lorenzo. Remind students that it is night time, and that they are
running away in secret, so they need to be quiet.
Run through the scene and ask the “observers” to feed back to the actors on how the use of levels
affected the way in which they moved and spoke, and how the change in volume affected the way in
which their characters came across. Give the observers the power to “freeze” the action and to direct
the actors on how else they could play the scene. Allow them to swap over if needed. This activity
could also be merged with the one above, so that the observers feed the actors particular emotions
or motivations to try out.
Writing
Ask students to pretend to be either Lorenzo or Jessica and write a letter to their parent(s) explaining
why they have eloped. What would Jessica write to Shylock? Would she be apologetic? Rational?
Bitter? How would Lorenzo expect his parents to react? Would they be happy? Angry? Ashamed?

Challenge
Students can include what they understand of the society and the text to make the letters as realistic
as possible. If suitable, this could then be extended into a chat-show activity, in which both families
are invited to argue it out, while the “audience” is given the chance to put their views across.
Act 2 Scene 7
Summary
Portia invites the Prince of Morocco to choose one of the caskets. If he is successful then he will find
her portrait inside. Morocco has a lengthy soliloquy as he decides which one to select but eventually
decides on the gold casket. He is wrong; inside he finds a skull and a note informing him that “All
the glisters is not gold”. He leaves and Portia is glad, making a (potentially racist) comment that she
hopes any suitor of “his complexion” also fails.
Activity ideas
Reading
Put the class into groups of about eight and ask them to pair up with somebody in their group. Give
each pair a section of Morocco’s speech (see Resource 2G) and set them the task of creating a
modern version of the text. They should be allowed to look up particular words, but not to just
copy from a pre-existing modern version. Ask them to work with their whole group to present their
version of the speech to the rest of the class. They can do this however they (or you) wish: physically;
dramatically; visually; musically. As a class, compare each version and think about which one best
retains the mood and meaning of the original.
Drama
Ask groups to experiment with the pace at which Morocco’s speech should be spoken. Ask them to
put three objects (representing caskets) in front of them and to see how long they feel they should
linger in front of each one. Do they want to cut the speech down? Which lines would they cut? You
could then compare this with a version of the scene on film and discuss whether the production team
edited the same lines and why:
https://www.youtube.com/watch?v=fSdhHawwt0U
Writing
Look specifically at the writing on the scroll. Read it through slowly and ask students to doodle
images or symbols to represent the lines as they listen. As a class, decide what the didactic message
of the scroll is (material wealth isn’t everything, and people who value it too much sell their lives only
to end up in “gilded tombs”). Get the students to write a short, moralistic story for children with the
same message. This link provides a style model that students could use:
http://www.taleswithmorals.com

Challenge
Find evidence from elsewhere in the text that this is actually the moral message of the whole
play. For example, look at Shylock in II.vi/III.i, where he seems to value his wealth above his
daughter and then look at what happens to him at the end of the court scene, when his money
is taken away from him.
Act 2 Scene 8
Summary
Salarino and Solanio discuss Shylock’s reaction to Jessica’s elopement, reporting that he was intensely
distressed at the loss of his daughter, his jewels and his money. Salarino says that he has heard of the
shipwreck of a merchant vessel and hopes it was not one of Antonio’s. He then recalls how Antonio
treated Bassanio kindly as he departed, telling him not to worry about the debt but to “be merry” and
to court Portia.
Key quotations
A Christian view of Shylock:

“My daughter! O my ducats! O my daughter!” (Solanio, quoting Shylock: II.viii.15)
A Christian view of Antonio:

“A kinder gentleman treads not the earth” (Salarino on Antonio: II.viii.36)
“I think he only loves the world for him” (Solanio, on how Antonio feels about Bassanio: II.viii.51)
Activity ideas
Discussion
Before reading this scene, ask students to predict how they think Shylock will react to Jessica’s
elopement. Discuss their reasoning and compare their predictions with Shylock’s actual reaction.
Were they right? Point out that we only hear about it second hand; can we trust this report? What
motives might Salarino and Solanio have for exaggerating or twisting Shylock’s reaction?
Active reading
This scene is largely exposition, meaning that the characters are filling the audience in on what
has happened. They are basically telling each other stories. Ask two students to read Salarino and
Solanio’s lines slowly, while the rest of the class communicate their stories in a physical form.
They could:
●● Come up with gestures for each line (see: https://www.youtube.com/watch?v=kwFpiqGQVFg

for an example from the RSC).
●● Mime the action.
●● Use props to recreate the action.
●● Draw the action as they hear it.

Please note that each exam board uses a slightly different style of question; while the skills are the
same, these practice materials might not be the same layout/wording that your board will use.
See Resource 2H for a sample extract question.
(if possible) linking the theme to the rest of the play. They should make reference to the context of
the play.
●● How does Shakespeare present the conflict between the Christian and Jewish characters?
●● Explain how the theme of dishonesty is important in The Merchant of Venice.
●● Write about how Shakespeare presents isolated characters in The Merchant of Venice.
●● Explain how far you think the characters in the play are concerned with reputation.
●● Explore the ways in which the character of Jessica is presented.

RESOURCE 2A:
Funny lines from Act 2 Scene 2
“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.”
“But I pray you, ergo old man, ergo I beseech you,

talk you of young master Launcelot?”
“Do I look like a cudgel or a hovel- post, a staff

or a prop? Do you know me father?”
“Thou hast more hair on thy chin than Dobbin my

fill- horse has on his tail.”
“My master’s a very Jew. Give him a present?

Give him a halter!”

RESOURCE 2B:
Other witty fools
“The fool doth think he is wise, but the

wise man knows himself to be a fool.”
-Touchstone, As You Like It, V.i.2217
“If men could be contented to be what they are,

there were no fear in marriage.”
-Clown, All’s Well That Ends Well, I.iii.372
“Winning will put any man into courage.”

-Cloten, Cymbeline, II.iii.983
“Why, some are born great, some achieve greatness,

and some have greatness thrown upon them.”
-Feste, Twelfth Night, V.i.2583
“Better a witty fool than a foolish wit.”

-Feste, Twelfth Night, I.v.328
“For honesty coupled to beauty is to have

honey a sauce to sugar.”
-Touchstone, As You Like It, III.iii.1528
“Truth’s a dog must to kennel; he must

be whipp’d out…”
-The Fool, King Lear, I.iv.640

RESOURCE 2C:
Interviewing Portia
Exemplar questions: set immediately after Act 3 Scene 2.
So, Portia, are you looking forward to

finally getting hitched?
How do you feel about Bassanio?

We want all the inside gossip!
What’s married life going to look like for you?
Do you think you’ll be a good wife?
Any regrets that Bassanio picked the right casket?
What’s the atmosphere in Belmont

like at the moment?
Where is the lucky winner?

Not helping with the preparations?

RESOURCE 2D:
A Breef Rehersall of the Chiefe Conditions and
Qualities in a Courtier
From The Book of the Courtier by Baldassare Castiglione,
translated into English by Thomas Hoby in 1561.
●● To be well borne and of a good stocke.

●● To be portly and amiable in countenance unto whoso beehouldeth him.
●● Not to be womanish in his sayinges or doinges.
●● Not to praise himself unshamefully and out of reason.
●● Not to crake and boast of his actes and good qualities.
●● To do his feates with a slight, as though they were rather naturally in him, then learned
with studye.
●● Not to carie about tales and triflinge newis.
●● Not to be overseene in speaking wordes otherwhile that may offende where he ment it not.
●● Not to be stubborne, wilful nor full of contention: nor to contrary and overthwart men after
a spiteful sort.
●● Not to be a babbler, brauler, or chatter, nor lavish of his tunge.
●● Not to be given to vanitie and lightnesse, not to have a fantasticall head.
●● No lyer.
●● No fonde flatterer.
●● To be well spoken and faire languaged.
●● To be seen in tunges, and specially in Italian, French, and Spanish.
●● To be no envious or malitious person.
●● To be an honest, a faire condicioned man, and of an upright conscience.
●● Not to be rash, nor perswade hymselfe to knowe the thing that he knoweth not.
●● To have the feate of drawing and peincting.
●● To daunce well without over nimble footinges or to busie trickes.
●● To singe well
●● To play upon the Lute, and singe to it with the ditty.
●● To play well at fense upon all kinde of weapons.
●● To be nimble and quicke at the play at tenise.
●● To hunt and hauke.
●● To ride and manege wel his horse.
●● To swimme well.
●● To leape wel.
●● To renn well.
●● To wrastle well.
●● To cast the stone well.
●● To cast the barr well.
●● To renn well at tilt, and at ring.
●● To sett out himself in feates of chivalrie in open showes well provided of horse and harness,
well trapped, and armed, so that he may showe himselfe nymeble on horsbacke.
For full text: https://scholarsbank.uoregon.edu/xmlui/bitstream/handle/1794/671/courtier.pdf

RESOURCE 2E:
Teacher's notes NB: a useful website with a glossary for Shakespearean pronouns:
www.lunaescence.com/fics/viewstory.php?sid=18581
Metaphorical language uses JESSICA

religious imagery, but the
effect is conflicting here. I am sorry thou wilt leave my father so:
It is interesting to note that
“A merry devil” seems to Jessica gives a gift before
Our house is hell, and thou, a merry devil,
be a contradictory image, she asks for a favour. She
perhaps reflecting Jessica’s Didst rob it of some taste of tediousness. doesn’t call it payment or a
religious conflict. bribe, but is this a sign that
But fare thee well, there is a ducat for thee: Jessica is as mercantile
as her father? Compare
And, Launcelot, soon at supper shalt thou see this line to II.vi, where she
steals from her father as
What could this line imply? Lorenzo, who is thy new master's guest: she runs away.
That she is scared of her
father? That she feels guilty? Give him this letter; do it secretly;
That she is worried for
Launcelot’s safety? And so farewell: I would not have my father See me
in talk with thee. Again in this scene, there are

seemingly conflicting religious
phrases used: “beautiful” and
Launcelot actually means “Christian”and “play” could
“inhibit” here, but chooses the LAUNCELOT
all be construed as positive,
wrong word. This is a common while “pagan” and “knave” are
Adieu! tears exhibit my tongue. Most beautiful
thing for Shakespearean more negative. It seems that
characters (especially low-born Jessica’s religious confusion is
pagan, most sweet Jew! if a Christian did not play
or foolish ones) to do. It is called also detected by those around
malapropism and is usually the knave and get thee, I am much deceived. But, her. She is a hard character to
used for comic effect. Dogberry compartmentalize. This idea is
in Much Ado About Nothing is adieu: these foolish drops do something drown my physically enacted when she
famous for using this. literally climbs out her “box”
manly spirit: adieu. (house) later in the play.
Launcelot uses metaphorical

language here to express the
idea that his sadness at leaving JESSICA “get” Conceive (a child)
Jessica makes him act less like a
Farewell, good Launcelot.
man. As he has quite openly played
the fool up until this point, these Exit Launcelot “heinous” Terrible/wicked
words are probably intended to
have a comical effect.
Alack, what heinous sin is it in me
To be ashamed to be my father's child!

This doesn’t just mean how
polite he is. It is more likely to But though I am a daughter to his blood,
refer to the overall “manner”
I am not to his manners. O Lorenzo,
in which Shylock lives: his
The soliloquy ends with a
religion, his business and his If thou keep promise, I shall end this strife, rhyming couplet. This
social code, as well as his
device is often used at the
temperament. Become a Christian and thy loving wife. end of a scene as a signifier
(to both audience and other
actors) that the scene is over.
Jessica is desperate to become a Christian
in this play, but it is not clear exactly what
motivates her in this. Is it so that she can
marry Lorenzo? Avoid an arranged marriage?
Escape an abusive father? Become more
respected in the eyes of society? Have more
freedom around Venice?

RESOURCE 2E:
Student worksheet
Write out the words “thou”,
JESSICA
“thee”, “thy”, “thine” and
I am sorry thou wilt leave my father so: “thyself” next to the modern
forms of them. Find an example
Our house is hell, and thou, a merry devil, of each in the play and check
Which language technique is to make sure that your modern
used twice in this line? Didst rob it of some taste of tediousness. word makes sense.
Take out the words “hell”,
“merry” and “devil” and list all of But fare thee well, there is a ducat for thee:
the connotations of each word. And, Launcelot, soon at supper shalt thou see Why does Jessica give
Is there anything strange about Launcelot money? Try to
Jessica’s phrasing? Lorenzo, who is thy new master's guest: think of more than one
reason. What could this tell
Give him this letter; do it secretly; us about her character?
Why is Jessica worried
about this? List as many And so farewell: I would not have my father
possible reasons as you can.
See me in talk with thee. Highlight all the positive
words in one colour and all the
negative words in another.
Launcelot uses the wrong word Do you see any patterns?
LAUNCELOT Are there points where they are
here; he doesn’t mean “exhibit”.
What could he mean instead? Make Adieu! tears exhibit my tongue. Most beautiful close together?
a list of possible replacements. What does this tell us
Look up the term “malapropism”. pagan, most sweet Jew! if a Christian did not play about the character who is
What is this and why is it used here? speaking?
the knave and get thee, I am much deceived. But,
Is it effective?
adieu: these foolish drops do something drown my
manly spirit: adieu. What are the “foolish drops”?

What is “drown my manly
spirit” a metaphor for?
What effect do you think
JESSICA Shakespeare intended these
lines to have?
Farewell, good Launcelot.
Exit Launcelot
Being a “daughter to his blood” Alack, what heinous sin is it in me

means that she is Shylock’s
biological child. What do you To be ashamed to be my father's child!
think it means when she says Glossary
But though I am a daughter to his blood,
“I am not (a daughter) to his
manners”? How are these I am not to his manners. O Lorenzo,
things different? Ducat: a coin (probably gold)
Challenge: find evidence of If thou keep promise, I shall end this strife,
these differences in the text. Pagan: a non-Christian
Become a Christian and thy loving wife.
Get: here it means to
conceive (a child)
Jessica is desperate to become a Christian
in this play. Why might this be? Using what Knave: a dishonest man
you know about the time period and of her
Adieu: farewell
relationships with other characters, think of
as many reasons as you can why she might Heinous: terrible/wicked
want to convert. Which one do you think is
Strife: turmoil/upset
the most important to her? Why?

RESOURCE 2F:
Glossary for Act 2 Scene 6
Long abode: being late

Albeit: although
Follies: silly things
Affairs: business
Pains: effort
Office of discovery: act of revelation
Dwells: lives
Exchange: disguise
Obscured: covered
Garnish: disguise
Gild: cover in gold
Gentle: pun on “gentile” (non- Jew)

RESOURCE 2G:
Morocco’s speech
Some god direct my judgment! Let me see;
I will survey the inscriptions back again.
What says this leaden casket?
'Who chooseth me must give and hazard all he hath.'
Must give: for what? for lead? hazard for lead?
This casket threatens. Men that hazard all
Do it in hope of fair advantages:
A golden mind stoops not to shows of dross;
I'll then nor give nor hazard aught for lead.
What says the silver with her virgin hue?

'Who chooseth me shall get as much as he deserves.'
As much as he deserves! Pause there, Morocco,
And weigh thy value with an even hand:
If thou be'st rated by thy estimation,
Thou dost deserve enough; and yet enough
May not extend so far as to the lady:
And yet to be afeard of my deserving
Were but a weak disabling of myself.
As much as I deserve! Why, that's the lady:
I do in birth deserve her, and in fortunes,
In graces and in qualities of breeding;
But more than these, in love I do deserve.
What if I stray'd no further, but chose here?
Let's see once more this saying graved in gold

'Who chooseth me shall gain what many men desire.'
Why, that's the lady; all the world desires her;
From the four corners of the earth they come,
To kiss this shrine, this mortal-breathing saint:
The Hyrcanian deserts and the vasty wilds
Of wide Arabia are as thoroughfares now
For princes to come view fair Portia:
The watery kingdom, whose ambitious head
Spits in the face of heaven, is no bar
To stop the foreign spirits, but they come,
As o'er a brook, to see fair Portia.
One of these three contains her heavenly picture.

Is't like that lead contains her? 'Twere damnation
To think so base a thought: it were too gross
To rib her cerecloth in the obscure grave.
Or shall I think in silver she's immured,
Being ten times undervalued to tried gold?
O sinful thought! Never so rich a gem
Was set in worse than gold. They have in England
A coin that bears the figure of an angel
Stamped in gold, but that's insculp'd upon;
But here an angel in a golden bed
Lies all within. Deliver me the key:
Here do I choose, and thrive I as I may!

RESOURCE 2H:
SHYLOCK
… Well, Jessica, go in;
Perhaps I will return immediately:
Do as I bid you; shut doors after you:
Fast bind, fast find;
A proverb never stale in thrifty mind.
Exit
JESSICA
Farewell; and if my fortune be not crost,
I have a father, you a daughter, lost.
Exit
Starting with this extract, explore how Shakespeare presents the

relationship between Shylock and Jessica in The Merchant of Venice.

Act 3 Scene 1
Summary
Solanio and Salarino discuss the news that one of Antonio’s ships has been wrecked, saying that they
hope the report is untrue. Shylock enters and accuses them of knowing that Jessica was going to run
away. They do not deny this and then go on to mock him instead. Salarino changes the subject, asking
if Shylock has heard of Antonio’s losses. Shylock has, and says three times that Antonio must “look
to his bond”. Salarino comments that Shylock surely will not hold Antonio to its terms. Shylock re-
sponds with (arguably) his most famous speech, in which he points out the similarities between Jews
and Christians. Solanio and Salarino leave to visit Antonio as Tubal enters to tell Shylock that he can-
not find Jessica. Shylock is angry about his lost wealth, saying he would rather have his ducats and
jewels back and Jessica dead. Tubal then reports that another of Antonio’s ships has been lost, which
Shylock is happy about, and that Jessica has apparently been spending his money lavishly, which he
is less pleased to know. He hears that she has traded a ring for a monkey, which particularly upsets
him, as the ring had been a gift from “Leah”. Although it is never explained exactly who Leah is, many
assume that she was Jessica’s mother. The scene ends with Shylock telling Tubal to find an officer to
arrest Antonio.
Key quotations
Focusing on Shylock’s revenge:

“Let him look to his bond” (Shylock on Antonio: III.i.37/38/39)
“If you prick us, do we not bleed?” (Shylock on Jews: III.i.50 )
“The villainy you teach me I will execute” (Shylock, directed at Solanio and Salarino: III.i.56)
“I would my daughter were dead at my foot, and the jewels in her ear” (Shylock to Tubal: III.i.69/70)
Activity ideas
Salarino and Solanio’s discussion
Visual
Using Salarino’s description (“on the narrow seas/ dangerous flat and fatal/ the carcasses of many a
tall ship lie buried”) ask students to draw an image of “the Goodwins” or, alternatively, to create a
montage board of printed images. Why does Shakespeare use the word “carcasses” here? What does
it make students think of? What does it make us think about Salarino’s character?
Reading
The conversation here is very confusing, but purposefully so! Get students to highlight phrases that
they don’t understand. What do they think each one might mean? Can they figure it out? Hand out
modern replacement phrases and ask students to try to fit them to the text (see Resource 3A).
Once students have a good grasp of the meaning of the text, ask two confident students to read this
conversation out loud, making it as overly dramatic as possible. Ask students to see if they can spot
the irony here; the characters are talking about “plain” talk in overly flowery language. What is the
point of this? Is it just supposed to be funny? Or is Shakespeare again mocking the “eloquence” of the
courtier?

Shylock’s speech
Kinaesthetic
Before reading the scene, tell students that it includes an important speech from Shylock. Hand out a
“clue box” to each table and ask them to try and figure out what the speech will be about. Depending
on what you have access to, these boxes could contain pictures/key words/objects or a combination
of all three to represent key images from the speech
For example, you could include words, images or objects to represent the following:
●● tears ●● a needle ●● revenge
●● laughter ●● blood ●● Judaism
●● tickling ●● poison ●● Christianity
●● similarity (an “equals” sign, or two peas in a pod)
Discuss different interpretations and associations. For example, the needle might invoke images of
the domestic, but would this fit with the other images in the speech? Put the images of the blood and
the needle next to each other and see if this gets a different reaction. Groups who struggle with this
exercise might benefit from simply trying to pair up linking images and trying to establish the mood of
the speech. Those who need extra challenge might instead be asked to write their own version of the
speech based solely on the images. The aim of this exercise is not to see who can most closely predict
the content of the speech, but to get students to explore imagery and the different reactions that the
same image can inspire in different people.
This exercise could also be used for revision once the students have already studied the speech, and
you could then ask them to create their own clue boxes for other parts of the play.
Challenge
Point out that this speech is in prose, not verse, and ask students why this might be. Often this
is taken to show how emotional Shylock is in this scene, that even his speech becomes less
structured. Compared to his careful speeches in the court scene he is much wilder here,
perhaps in reaction to Jessica’s betrayal.
Reading
Give students copies of Shylock’s speech (see Resource 3B). They should use the worksheet provided
to help them to annotate the language thoroughly. See also the pre-annotated copy of the speech for
teachers.
Useful links
You can see the speech performed here:

https://www.tes.com/teaching-resource/performance-video-the-merchant-of-venice-2015-act-3-
scene-1-11180435

Act 3 Scene 2
Summary
Portia asks Bassanio to wait before making his choice of the three caskets. She says that if she was
allowed to, then she would tell him the correct casket to choose. However, he is impatient, so she
shows him to the caskets, asking for music to be played. She thinks about him failing and compares
him to a dying swan, but then anticipates his victory, comparing him to Hercules. Bassanio makes
a speech in which he explores the idea that appearances are deceptive. Eventually, he correctly
chooses the lead casket. Portia appears happy and offers herself to Bassanio, saying that, humble as
she is, everything she is and owns now belongs to him. She gives him a ring and says that the day he
loses it will be the day he stops loving her. Gratiano then asks if he can marry Nerissa and Bassanio
agrees. Lorenzo, Jessica and Salerio arrive with a letter from Antonio. Salerio tells Bassanio that all
of Antonio’s ships are lost, and that Shylock intends to claim the “pound of flesh” that is owed him.
Portia offers to pay back the loan with extra interest. Bassanio reads the letter out loud, and Portia,
worried, orders him to go and help at once. Bassanio leaves, saying that he will not sleep again until
he is back by Portia’s side.
Key quotations
Amoral lesson:
“The world is still deceived with ornament” (Bassanio, on looking at the caskets: III.ii.74)
A model woman:
“One half of me is yours, the other half yours” (Portia to Bassanio: III.ii.16)
“Myself and what is mine, to you and yours/Is now converted” (Portia to Bassanio: III.ii.166/7)
Activity ideas
Reading
Use Resource 3C to explore Portia’s style of speaking here. It is very different to the way she speaks
in Act 1 with Nerissa. Some guiding points:
●● It is written in verse rather than prose which indicates education, but also artifice.
●● She seems hesitant here, pausing often and not fully completing her thoughts,
whereas before she has always been more confident.
●● She is flattering towards her suitor, whereas she has always seemed scathing in
her mockery before.
●● She openly admits that she wants to cheat for Bassanio and tell him which
casket is correct.
●● She begs him to delay his decision.
●● On the surface, it would seem that she is genuinely in love with Bassanio and is nervous.
Does this fit with what we know of her character so far though? Shakespeare devotes a
whole scene in Act 1 to Portia complaining that she can’t choose her own path in life and
here she tells Bassanio that she belongs to him (lines 16-18). Is this the real Portia? If not,
then why is she acting this way?

Active
Read or sing through the words of the song in this scene. Ask students to stand up every time they
hear a rhyme. Why are there so many rhymes in this song? (Answer: they all rhyme with “lead”– a clue
for Bassanio). If it suits the group you could experiment with where the musicians would be on stage.
How obvious would the rhyme be? Would Bassanio pick up on it?
Group reading
Write each of the quotations on the left in the middle of large pieces of paper and give one to a group
of students. Ask them to explore how Portia presents herself to Bassanio in the following stages.
1. Groups should try to re-write the quotation into more

Quotations to use: modern English, For example, the first line could read:
“All of me belongs to you”.
“One half of me is
yours, the other 2. Rotate the quotations, so that each group is looking at
half yours” a different one. At this stage, groups should highlight the
pronouns and label them with the character that each one refers
“for you I would to. Do students notice anything interesting? Portia talks about
herself in the third person, for example.
be trebled twenty
times myself”
3. Rotate again. This time, ask students to highlight key words
and label them with connotations or associations.
“an unlessoned
girl, unshooled, 4. Rotate a third time and read the notes so far. Ask students to
unpractised” add notes describing how Portia is presenting herself here. This
could be single words such as “subservient”, or it could be full
“her gentle spirit” sentences.
“I would not be 5. Rotate and read, then add notes on how a modern audience
ambitious” might respond to Portia here.
“her lord, her 6. Repeat step five for a Shakespearean audience.

governor, her king”
7. Rotate and ask students to add notes on why they think
Shakespeare might be presenting Portia this way (you might
“myself, and what
want to scaffold this towards ideas such as: he is using her as
is mine, to you an example of a “model” wife; this is supposed to seem fake
and yours is now or sarcastic, making a mockery of courtship traditions; having
converted” Portia turn herself into a commodity further reflects how
money/trade-obsessed the characters in the play are).
“This house, these
servants, and this 8. Rotate and ask students to read everyone’s notes.
same myself are
yours, my lord” 9. Pin the sheets up on the wall so that students can reference
these and then ask them to answer the question: “How does
Portia present herself to Bassanio?”

See Resource 3D for a sample extract question
linking the theme to the rest of the play. They should make reference to the context of the play.
●● How does Shakespeare present the theme of discrimination?
●● Explore how Shakespeare presents the character of Shylock.
●● Explore the importance of conflict in the play.
●● Explain why love is an important theme in the play.
●● How are women shown to behave in the play?

RESOURCE 3A:
Phrases from Salarino and Solanio’s discussion
…chewed…
…going on about it…
…structural remains…
…exaggerating things…
…source of information…
…the conclusion…
…that has been loaded with rich goods…

RESOURCE 3A:
Phrases from Salarino and Solanio’s discussion
SOLANIO
Now, what news on the Rialto?
SALARINO
Why, yet it lives there uncheck'd that Antonio hath …the story (that nobody
is denying) is…
…that has been loaded a ship of rich lading wrecked on the narrow seas;
with rich goods…
the Goodwins, I think they call the place; a very
dangerous flat and fatal, where the carcasses of many …structural remains…
a tall ship lie buried, as they say, if my gossip
…source of information… Report be an honest woman of her word.
SOLANIO
I would she were as lying a gossip in that as ever
…chewed… knapped ginger or made her neighbours believe she
wept for the death of a third husband. But it is
…exaggerating things… true, without any slips of prolixity or crossing the going on about it…
plain highway of talk, that the good Antonio, the
honest Antonio,--O that I had a title good enough …were good enough to
talk about him…
to keep his name company!—
SALARINO
the conclusion… Come, the full stop.
SOLANIO
Ha! what sayest thou? Why, the end is, he hath
lost a ship.

RESOURCE 3B:
Teacher’s notes The imagery here is almost
carnivorous, as Shylock
Salarino asks Shylock what imagines that Antonio’s flesh
To bait fish withal: if it will feed nothing else,
good Antonio’s flesh will do him. will metaphorically “feed” his
Shylock responds that he will use it will feed my revenge. He hath disgraced me, revenge. Note that he doesn’t
it as fishing bait. This seems to say “sate” or “satisfy” here. This
be just an insult though perhaps and hindered me half a million; laughed at my could imply that Shylock doesn’t
it is said quickly, in anger, as he want his hatred to end. At times
then immediately reveals a more losses, mocked at my gains, scorned my nation, he seems to actually enjoy his
genuine motive, saying that he enmity with Antonio, to the
thwarted my bargains, cooled my friends, heated point that Tubal’s reminder of it
wants the flesh out of revenge.
later in the scene (“But Antonio
mine enemies; and what's his reason? I am a is certainly undone”) cheers him
up and distracts him from his
Jew. Hath not a Jew eyes? hath not a Jew hands, losses.
Simple, declarative
sentence showing Shylock’s refusal organs, dimensions, senses, affections, passions?
to be ashamed of his heritage. All of
the declaratives here are clear and
fed with the same food, hurt with the same
pointed (eg, “he hath disgraced me”) Shakespeare uses listing in this
weapons, subject to the same diseases, healed
and presented as definite facts. speech to build Shylock’s anger.
by the same means, warmed and cooled by the The litany of offences potentially
also helps the audience to build
same winter and summer, as a Christian is? If sympathy with the character.
Rhetorical questions invite
the audience to sympathise you prick us, do we not bleed? if you tickle us,
with Shylock’s character.
Why might this be? Is there do we not laugh? if you poison us, do we not
Shylock is a very ambiguous
a moral message here, or is character. At times it seems
Shakespeare simply trying to
die? and if you wrong us, shall we not revenge?
very easy to read him as cold
increase the dramatic tension? If we are like you in the rest, we will resemble and mean-spirited. In this
speech however, the pathos is
you in that. If a Jew wrong a Christian, what is undeniable. Pathos is a quality
which evokes pity or sympathy.
his humility? Revenge. If a Christian wrong a
Jew, what should his sufferance be by Christian
example? Why, revenge. The villany you teach

The word “revenge” here acts
me, I will execute, and it shall go hard but I will as a verb, which might seem
odd to us today. It’s actually
better the instruction.
quite common in Shakespeare
to find words functioning
oddly. This is due to a process
Subject/object called conversion, in which the
There is a pattern in this speech wherein phrases begin with
function of a word changes over
Jews as the object and Christians (“you”) as the subject (“if
time. A way to introduce this to
you prick us”). This clearly paints Christians as the instigators:
students might be to take the
the “Jew” of the speech only responds, often in a way that
example of “Google”, which
is out of their control (“do we not bleed?”). This repeated
has shifted from acting only as
structure leads up to Shylock’s last point, in which he argues
a proper noun to both verb and
that he only acts with “villainy” because that is how he has
noun fairly quickly.
been taught to act by Christians. In this way, he can avoid
taking the blame for any of his own actions.

RESOURCE 3B:
Student worksheet
Find Salarino’s question. To bait fish withal: if it will feed nothing else, Explore the imagery here. Map
What does Shylock all of the connotations of the
mean by this answer? it will feed my revenge. He hath disgraced words “feed” and “revenge”?
Do you think that me, and hindered me half a million; laughed Why does Shylock want
Shylock is serious? to “feed” his “revenge”?
Explain your answer. at my losses, mocked at my gains, scorned What does it imply about
his feelings?
my nation, thwarted my bargains, cooled my
Note the pause after “withal”.
How do you think Shylock’s tone friends, heated mine enemies; and what’s his
might change here?
Shylock’s questions here
reason? I am a Jew. Hath not a Jew eyes? hath
Look up the definitions of are rhetorical and he doesn’t
“declarative” and “interrogative” not a Jew hands, organs, dimensions, senses, expect to be answered, but if
statements. Highlight examples you could answer him what
of them in the speech. affections, passions? fed with the same food, would you say?
Look at the length of the
declarative statements. hurt with the same weapons, subject to the Does this speech change your
What effect does this give? opinion of his character?
same diseases, healed by the same means,
How do you think a
warmed and cooled by the same winter and Shakespearean audience might
have responded to this speech?
summer, as a Christian is? If you prick us, do
we not bleed? if you tickle us, do we not

The word “revenge” is laugh? if you poison us, do we not die? and Look up the term “pathos”.
acting as a verb here. How is it relevant here?
Why does that seem if you wrong us, shall we not revenge? If we Select three quotations from
strange to us today? the speech that you think
are like you in the rest, we will resemble you create the most pathos.
Highlight all of the verbs in Explain your choices.
the speech and sort them in that. If a Jew wrong a Christian, what is his
into “positive” “negative” and Challenge:
“neutral” categories. humility? Revenge. If a Christian wrong a Jew,
Do you think that your
What is the overall choices would be different if
what should his sufferance be by Christian
mood of the speech? you were Elizabethan?
example? Why, revenge. The villany you teach Why/why not?
Challenge:
Look up the term “grammatical me, I will execute, and it shall go hard but I will
conversion”. Can you find any Look at the end of the speech.
other examples of this in the better the instruction. What is Shylock’s justification
play? for his actions?
Does this make what he does
morally acceptable?
The subject of a phrase is the person who is acting, and the
object is the person or thing being acted upon. For example,
in “he hath disgraced me”, “he” (Antonio) is the subject,
and “me” (Shylock) is the object. Make a list of all of the
different subjects and objects in this speech. Can you spot a
pattern? What does this imply about Shylock’s world view?

RESOURCE 3C:
Portia’s speech without punctuation
I pray you tarry pause a day or two

Before you hazard for in choosing wrong
I lose your company therefore forbear awhile
There's something tells me but it is not love
I would not lose you and you know yourself
Hate counsels not in such a quality
But lest you should not understand me well
And yet a maiden hath no tongue but thought
Useful vocabulary:
I would detain you here some month or two
Before you venture for me I could teach you hazard: gamble (guess the casket)
How to choose right but I am then forsworn forbear: wait
counsels: advises
So will I never be so may you miss me
detain you: keep you
But if you do you'll make me wish a sin venture: gamble (guess the casket)
That I had been forsworn Beshrew your eyes forsworn: gone back on a promise
They have o'erlook'd me and divided me Beshrew: curse
peize: slow down
One half of me is yours the other half yours eche: increase
Mine own I would say but if mine then yours election: choosing
And so all yours O these naughty times
Put bars between the owners and their rights
And so though yours not yours Prove it so
Let fortune go to hell for it not I
I speak too long but 'tis to peize the time
To eke it and to draw it out in length
To stay you from election
1. Read through the speech carefully. Think about how Portia seems to be feeling. Add
in the following punctuation where you think it fits (you can use each one as many
times as you like) , . : ; - !
2. Imagine you are directing somebody playing Portia. How would you want them
to deliver this speech? Either annotate the text with instructions, or write out a
full set of instructions for them. You should think about the following: pace, pitch,
intonation, emphasis, volume, accompanying facial expression, gestures and
movement.
3. Compare this speech to the way in which Portia speaks in Act 1. List the differences
and similarities, thinking about what she is talking about and how she is saying it.
Which Portia is the real one? Explain your answer.

RESOURCE 3D:
question that follows it
PORTIA
You see me, Lord Bassanio, where I stand,
Such as I am: though for myself alone
I would not be ambitious in my wish,
To wish myself much better; yet, for you
I would be trebled twenty times myself,
A thousand times more fair, ten thousand times more rich;
That only to stand high in your account,
I might in virtue, beauties, livings, friends,
Exceed account; but the full sum of me
Is sum of something, which, to term in gross,
Is an unlesson'd unschool'd, unpractised;
Happy in this, she is not yet so old
But she may learn; happier than this,
She is not bred so dull but she can learn;
Happiest of all is that her gentle spirit
Commits itself to yours to be directed,
As from her lord, her governor, her king.
Myself and what is mine to you and yours
Is now converted: but now I was the lord
Of this fair mansion, master of my servants,
Queen o'er myself: and even now, but now,
This house, these servants and this same myself
Are yours, my lord: I give them with this ring;
Which when you part from, lose, or give away,
Let it presage the ruin of your love
And be my vantage to exclaim on you.
How does Shakespeare present Portia at this moment in the play?

Act 4 Scene 1
Summary
The court assembles for Antonio’s case. Shylock enters and demands that the debt to him be paid. He
likens his right to have Antonio’s flesh as the same as Venetians’ rights to keep slaves and demands to
be told whether he is allowed to claim this. Portia enters in disguise as a lawyer called Balthazar. She
asks Shylock to be merciful, which he declines to do. Antonio prepares himself for death and says
farewell to Bassanio. Just as it seems that Shylock will triumph, Portia reveals that he is only allowed
to take the flesh if he does not shed any blood, as blood was not mentioned in the bond. Shylock is
bound by Venetian law to give half of his wealth to Antonio. The other half will be seized by the state.
Bassanio tries to repay “Balthazar” for his help, but Portia asks only for his gloves and his ring (which
had been a gift from her). Bassanio tries to resist, but eventually gives in at Antonio’s urging.
Key quotations
“A stony adversary, an inhuman wretch” (The Duke on Shylock: IV.i.4)

“We all expect a gentle answer, Jew” (The Duke to Shylock: IV.i.34)
“Do all men kill the things they do not love?” (Bassanio to Shylock: IV.i.66)
“Wouldst thou have a serpent sting thee twice?” (Shylock: IV.i.69)
“Why dost thou whet thy knife so earnestly?” (Bassanio to Shylock: IV.i.121)
Activity ideas
Introducing the scene
Analysis
Introduce students to a questioning grid that will help to encourage deeper thinking (see Resource
4A). They should use this to help them formulate questions for the characters of Antonio, Shylock,
Portia, Nerissa, the Duke, Gratiano and Bassanio at the beginning of the court scene. Once they have
done this, allocate a different character to each student and ask them to answer the questions they
have prepared in character. This could then be extended into the drama task below, or you could
simply ask them to write their answers.
Drama
Put the students into groups of seven and allocate a different character to each of them. Students
should now move into character groups and work together on creating a “role on the wall”. To do
this they should draw the outline of their character. If you can go outside and use chalk, or have big
enough sheets of paper, then this could be life-size, but it doesn’t need to be. Inside this outline, they
should write down all the emotions that this character is feeling at the start of the courtroom scene.
Inside the head, they should write down all the thoughts that character might be having. Outside the
body, they should write down how the character will be acting and what they will be saying. There
might be interesting differences here. For example, Antonio might be feeling fear, but also thinking
that he doesn’t want to upset Bassanio. This could then manifest in an outward show of bravado.
When the role on the wall is completed, ask the character groups to rehearse how their character
might be sitting, speaking or moving. They could use lines from the play to help them here. Students
should then move back to their original mixed groups and take it in turns to adopt their role and
introduce themselves. The others in the group should use the questions from the task above to “hot
seat” or quiz them.

NB: items of costume or key props often help students to maintain focus here. If they want to drop
character, they must take off the costume or put the prop down.
Reading
When first reading through this scene, rearrange the tables in the room to create your own courtroom.
You will need a “dock” of some sort for Antonio and a higher seat for the Duke, but let the students
experiment with the rest. Where would they put Bassanio and Gratiano? Why? Where should Shylock
enter from? Allocate students to read the character parts and have them stand in the courtroom “set”
as you read through the scene. Allow students to interrupt either if they don’t understand what’s
happening, or if they want to move the “characters”. Each time an interruption happens, allow time
for students to discuss potential or probable explanations themselves before offering help.
The detailed summary of the scene (Resource 4B) helps to explain the action and most good editions
of the text should gloss unfamiliar words. Any questions that cannot be answered in the moment
should be recorded by an appointed “court scribe”. These can be set as research tasks after the lesson.
Although time consuming, this exercise can prove invaluable in helping students to realise that they
can work the text out for themselves. While the language may be confusing, they should still be able
to follow the action of the scene by themselves. At the end of the exercise, ask students to write their
own summary of what has happened; they can then read each other’s work and add in important
points that may have been missed out. This can also work as preparation for language exams which
call for summary writing.
‘You have among you many a purchased slave’
Reading
Give students copies of Shylock’s “slavery” speech (see Resource 4C). They should use the worksheet
Discussion
Introduce the concept of “the other” in Shakespeare with the help of this article:
http://americamagazine.org/content/dispatches/encountering-other-shakespeare
Ask students who they identify as “other” or “alien” to themselves. You might want to link this back to
The Merchant of Venice by revisiting the historical information about Jews (see the historical context
section for Act 1) and their geographical situation. Ask students to draw a map of the “Guetto Nuovo”,
where Jews were expected to live in Venice at the time the play is set. This was an open square
surrounded by water. It had two bridges to enter and exit by, but the gates were shut from sundown
to sunrise and always guarded. Can we blame Shylock for seeing Christians as the “other”, when they
so clearly view him as such?

Written
Once students are familiar with the scene, allocate a character to each of them, making sure that each
character is covered. Ask students to annotate the script with the inner thoughts of that character.
You could use the awkward moment in which Bassanio says he would trade Portia for Antonio as an
example (see Resource 4D). When students have finished their annotations, ask two representatives
for each character to come to the front. Read through the scene with half of your cast reading the
actual script and half of them voicing the character’s thoughts. This could be hilarious or tragic,
depending on the class. If you have enough students to make it work, you could allocate different
styles to different students. For example, you could have a comedic version, a romantic version and
a tragic version.
Looking back at the scene
Discussion prompts
After you have read the scene, use the following questions as prompts for discussion. This could be
done as a whole class or in groups. The questions could also be used as essay titles for extension work.
●● What does Shylock care about most: money, religion or revenge?
●● Who is to blame for Shylock’s losses?
●● Is Shylock a villain or a victim?
●● Is the Duke’s judgement fair?
●● Should Shylock be made to convert?
●● How does Portia really feel about Antonio?
●● Is this scene comic or tragic?
●● What dramatic function does Gratiano fulfil here?
●● Who do you feel the most sympathy for and why?
Written
Ask students to write an article for a celebrity gossip magazine that covers news of the trial. What does
the magazine have to say about: the final judgement; Antonio and Bassanio’s relationship; Gratiano’s
behaviour; rumours surrounding the identity of the young lawyer; gossip linking Lorenzo and Jessica
to those involved in the trial?

See Resource 4E for a sample extract question.
Ask students to plan and/or write answers for the following questions, beginning with Act 4 and then
linking the theme to the rest of the play if possible. They should make reference to the context of the
play.
●● How does Shakespeare present the theme of revenge?
●● Explain how far Shakespeare presents Portia as an empowered female character.
●● To what extent is Shylock presented as a sympathetic character.
●● Explain how violence is an important theme in the play.
●● Write about how Shylock’s character develops over the course of the play.

71
RESOURCE 4A: Question chart
Create questions by using one word from the left-hand column and one word from the top row.
The farther down the right-hand side you go, the more complex and high level the questions will become.
Is Did Can Would Will Might

Who
FACTUAL PREDICTIVE
What
Where
When
How
CREATIVE
Why ANALYTICAL
RESOURCE 4B:
Detailed summary of the scene
The court assembles for Antonio’s case. As the scene opens, the Duke tells Antonio that he sympathises
with his situation. Shylock enters and the Duke tells him that everyone expects him not only to
show mercy at the last moment, but also to relieve Antonio of some of the debt. Shylock refuses and
demands that the debt be paid, giving no further explanation than it suits his “humour” and he hates
Antonio. He likens his right to have Antonio’s flesh as the same as Venetians’ rights to keep slaves
and demands to be told whether he is allowed to claim these rights. The Duke asks whether the
“learned doctor”, Bellario, has arrived yet. Nerissa enters (dressed as a lawyer’s clerk) with a letter
supposedly from Bellario. In the letter, Bellario claims that he is sick, but recommends a young lawyer
named Balthazar from Rome. Portia enters, disguised as Balthazar. The Duke allows her to speak. She
initially asks Shylock to be merciful, which he declines to do. Antonio prepares himself for death and
says farewell to Bassanio: in this speech he says that he is grateful not to have lived in poverty and
asks him to tell Portia how much Antonio loved him. Bassanio says that he would sacrifice his own
life, his wife and all the world if it would save Antonio.
Just as it seems that Shylock will triumph, Portia reveals that he is only allowed to take the flesh if he
does not shed any blood, as blood was not mentioned in the bond. As this is impossible, Shylock then
demands the money instead. Although Bassanio is happy to pay, Portia intervenes and disallows it on
the grounds that Shylock had previously rejected it. She then declares that as an “alien” who has tried
to take the life of a Christian, Shylock is bound by Venetian law to give half of his wealth to Antonio.
The other half will be seized by the state. He must also beg the Duke not to execute him.
The Duke allows Antonio to decide Shylock’s fate. Antonio states that Shylock should keep half of
his wealth, but that it must to revert to Lorenzo on his death. He also says that Shylock must convert
to Christianity. Shylock agrees, but then asks to leave, saying that he is “not well”. Bassanio tries to
repay “Balthazar” for his help, but Portia asks only for his gloves and his ring (which had been a gift
from her). Bassanio tries to resist, but eventually gives in at Antonio’s urging.

RESOURCE 4C:
Teacher’s notes
What judgment shall I dread, doing no wrong?
The pronoun “you” seems to You have among you many a purchased slave, Note that after being
imply that Shylock himself
referred to as an animal
does not own any slaves. He Which, like your asses and your dogs and mules, throughout the play,
doesn’t, however, seem to
Shylock now extends that
morally object to slavery, as You use in abject and in slavish parts, metaphor to include the
he uses it as the justification
slaves owned by Venetians.
for his own treatment of Because you bought them: shall I say to you,
Antonio. For some more info
about slavery at the time see: Let them be free, marry them to your heirs?
https://shakeyoursphere.
wordpress.com/2009/02/23/ Why sweat they under burthens? let their beds
slavery-in-elizabethan-
Be made as soft as yours and let their palates
england/
Be season'd with such viands? You will answer “viands” fine foods
'The slaves are ours:' so do I answer you:
An exclamative statement: Note how Shylock talks in
Shylock is past the point of social The pound of flesh, which I demand of him, Is terms of ownership. He finds
niceties here. He doesn’t seem it very easy to see a person as
to care what people think of him dearly bought; 'tis mine and I will have it. a commodity. Compare this to
(if he ever has). Note also the how he supposedly refers to
possessive pronoun, which If you deny me, fie upon your law! Jessica along with his ducats
reminds us that he sees the in II.viii.
Christian Venetians and their laws There is no force in the decrees of Venice.
as alien to him, or the “other”.
I stand for judgment: answer; shall I have it? Before Portia takes over,
Shylock very clearly holds the
floor here. This end line is a
Verse structure: the speech is in iambic pentameter, prime example of his ability to
which means that the syllables follow a pattern of un- assert himself: a declarative
stress/stress. It is interesting to note where the stresses (pause), a one-word
fall, and how this affects the overall impact of the speech. imperative (pause) and then
See for example the line: a question, which forces a
concession from the Duke.
“The pound of flesh, which I demand of him”
The most important words ─ the nouns, pronouns and

verbs ─ are stressed. You will often find that prepositions
and conjunctions are not stressed. The effect of the
rhythm always varies, but here it makes Shylock sounds
more aggressive and more passionate. The sounds of the
emphasised words are also important. The word “flesh”,
with its fricative to start and the soft “sh” sound to finish,
could be said with a sense of relish, indicating Shylock’s
enjoyment of his anticipated revenge.

RESOURCE 4C:
Student worksheet
Highlight all of the What judgment shall I dread, doing no wrong? Find any examples of
pronouns here. animalistic language in the
How does Shylock You have among you many a purchased slave, speech. Why is Shylock
seem to see himself as using it?
being different to Which, like your asses and your dogs and mules,
Christian Venetians? Use this website:
How does he see himself You use in abject and in slavish parts,
www.opensourceshakespeare.org
as similar? Search the play for other
Because you bought them: shall I say to you,
references to animals.
How does Shakespeare Let them be free, marry them to your heirs? How is this animalistic
show Shylock asserting language normally used?
himself in this speech? Why sweat they under burthens? let their beds
Think about how he uses:
Be made as soft as yours and let their palates
- pauses Be season'd with such viands? You will answer
- questions (rhetorical and “viands” fine foods
expecting a reply) 'The slaves are ours:' so do I answer you:
- declaratives Note how Shylock talks in
- imperatives The pound of flesh, which I demand of him, Is terms of ownership. Compare
- pronouns this to how he supposedly
dearly bought; 'tis mine and I will have it. refers to Jessica along with his
Focus on this line. ducats in II.viii. What does it
If you deny me, fie upon your law!
What is Shylock’s say about him that he can treat
emotional state here? There is no force in the decrees of Venice. a person like an object that he
owns?
How do you know? I stand for judgment: answer; shall I have it?
Try to answer this in Challenge: also compare the
more than one way. language Portia uses when
Bassanio wins her hand in
How does this make you marriage. Is Shylock unusual
feel about the character? in this respect?
Do you think that this

is how Shakespeare
intended the audience to
react? Why/why not?
Verse structure: the speech is in iambic pentameter, which means that the syllables follow
a pattern of un-stress/stress. Read through the speech again and highlight the stressed
syllables. Like this:
“The pound of flesh, which I demand of him”
Choose any two lines to copy out.

Answer these questions for each one:
Why are these words emphasised?

(Hint: think about word classes.)
Why are these sounds emphasised?

(Hint: say the words out loud and slowly and
think about what sounds they are made up of.)

RESOURCE 4D:
Subtext activity
A love triangle? Inner thoughts revealed:
ANTONIO “I want you to remind Portia

of me, so that she knows
Commend me to your honourable wife:
you loved me first. I’m
Tell her the process of Antonio's end; absolutely terrified, and I’m
Say how I loved you, speak me fair in death; trying to look really brave,
And, when the tale is told, bid her be judge but deep down I want you to
feel a bit guilty about this so
Whether Bassanio had not once a love. I’m going to draw attention
Repent but you that you shall lose your friend, to the knife…”
And he repents not that he pays your debt;
For if the Jew do cut but deep enough,
I'll pay it presently with all my heart.
BASSANIO “I’m not entirely sure how

I got everyone into such a
Antonio, I am married to a wife
mess but I feel really bad
Which is as dear to me as life itself; about it. I’m so desperate
But life itself, my wife, and all the world, to make this right that
Are not with me esteem'd above thy life: I’d promise absolutely
anything.”
I would lose all, ay, sacrifice them all
Here to this devil, to deliver you.
PORTIA “Good Lord Bassanio, that’s

how you caused all this in
Your wife would give you little thanks for that,
the first place: by blindly
If she were by, to hear you make the offer. promising things that aren’t
even yours. I’m not going to
take it personally (I always
knew this wasn’t a love
match) but I’m beginning to
worry about how emotional
you are.”

RESOURCE 4E:
ANTONIO
Give me your hand, Bassanio: fare you well!
Grieve not that I am fallen to this for you;
For herein Fortune shows herself more kind
Than is her custom: it is still her use
To let the wretched man outlive his wealth,
To view with hollow eye and wrinkled brow
An age of poverty; from which lingering penance
Of such misery doth she cut me off.
Commend me to your honourable wife:
Tell her the process of Antonio's end;
Say how I loved you, speak me fair in death;
And, when the tale is told, bid her be judge
Whether Bassanio had not once a love.
Repent but you that you shall lose your friend,
And he repents not that he pays your debt;
For if the Jew do cut but deep enough,
I'll pay it presently with all my heart.
BASSANIO
Antonio, I am married to a wife
Which is as dear to me as life itself;
But life itself, my wife, and all the world,
Are not with me esteem'd above thy life:
I would lose all, ay, sacrifice them all
Here to this devil, to deliver you.
Starting with this extract, explore how Shakespeare presents the theme
of loyalty in The Merchant of Venice.

Act 5 Scene 1
Summary
While Lorenzo and Jessica talk about famous lovers from mythology, Stephano and Launcelot arrive
separately with the news that Portia and Bassanio are on their way home. Lorenzo calls for music,
and then speaks to Jessica of its calming powers. Portia and Nerissa return home and ask the others
not to tell Bassanio and Gratiano of their absence. Once the men arrive, Nerissa challenges Gratiano
over his missing ring. Portia claims that Bassanio would never part with her ring, and he is forced
to admit that he has; both ladies swear never to sleep with their husbands until they have the rings
again. Bassanio tries to plead his case, and Antonio steps in to offer his “soul” as surety that Bassanio
will never break an oath again. Portia gives him the ring to return to her husband, and their ruse is
revealed. Antonio learns that his ships (previously thought lost) have returned and they decide to go
inside to talk about the events more. The play ends with a speech from Gratiano, who looks forward
to sleeping with Nerissa, and declares that he will never lose her ring again.
Key quotations
Lorenzo and Jessica:

“Did pretty Jessica (like a little shrew)/ Slander her love, and he forgave it her” (Lorenzo to Jessica: V.i.21)
“I am never merry when I hear sweet music” (Jessica to Lorenzo: V.i.69)
The comic reveal:

“Why, I were best to cut my left hand off/And swear I lost the ring defending it” (Bassanio aside: V.i.177/8)
“Fair ladies, you drop manna in the way of starved people” (Lorenzo to Portia and Nerissa: V.i.293/4)
Activity ideas
Jessica and Lorenzo
Group reading
Put the students into groups of four and give each of them a conversation card (see Resource 5A).
●● Step one: Ask students to annotate their cards with synonyms and connotations for as many
words as they can. If they don’t know a word, they should try to figure out what it could
mean (for example, “slander” is something that Lorenzo has to “forgive”, so is it negative or
positive?)
●● Step two: Rotate the cards so each student is working with a different one. They should read
the existing notes and add to them if they can. Then, they must highlight all the verbs and
begin to list the connotations of each one or anything that strikes them about how the word is
being used.
●● Step three: Rotate the cards again. This time, students should write a list of adverbs next to
each line to indicate how that line could be spoken.
●● Step four: Rotate for the last time. Working in their groups, students should discuss any
words or phrases that they don’t understand. At this point, you might need to step in with
definitions for some of the harder words.
●● Step five: Students should then arrange the cards in the correct order and read the exchange
through together. Ask them to experiment with different ways of delivering the lines and to
come to a conclusion together about how they think this scene should be delivered.

Extension
Ask groups to either present their interpretation to the rest of the class, or to write up their
findings.
Challenge
Suggest that students present several different interpretations of the conversation, along with
support for or evidence against each one. They should then weigh up the evidence and come to
an ultimate conclusion.
Reading
Give students copies of Lorenzo’s speech (see Resource 5B). They should use the worksheet
Research point
All the famous lovers mentioned at the start of this scene have somewhat tragic stories. Ask
students to research these couples and to think about why Lorenzo and Jessica are recalling
them. Look at the repetition of the phrase “In such a night”. How might this be said: what do
they think the effect of this scene is intended to be? Is it humorous? Sad? Romantic?
Discussion
Play different kinds of music for the class (for example, a bit of classical, some pop, some rap). For
each different piece, students should jot down key words or doodle images relating to how it makes
them feel and what it makes them think of. Discuss the effect that music has on them. Do any of them
find it therapeutic? Read through and annotate Lorenzo’s speech on music (see Resource 5B). Ask
students whether they agree more with Lorenzo or Jessica, and why.
Extension
List all of the forms of entertainment that would not have been available in the early modern
period, such as film, TV, computer games, social networking, theme parks, recorded music,
music on demand and so on. Would the absence of these things make the experience of
listening to music more powerful? Does this change students’ interpretation of the scene?
Drama
Put the students into groups of three and assign parts: Jessica, Lorenzo and marriage counsellor. Tell
students that they are going to role-play a counselling session, set the day after the play ends. Don’t
get them to plan it together, but rather ask them to prepare for the role-play independently. For the
marriage counsellor, this will include creating a list of questions and prompts. The students playing
Jessica and Lorenzo will have to decide on their interpretation of the character, and jot down thoughts
as to what issues they might be having in the marriage and what, if anything, they want to change.

Support option
Give students a list of prompts (see Resource 5C) to choose from to get them started. If
appropriate, you could ask the class to make a list of these statements together and then
allocate them.
Extension
After discussing the activity, pose the question: “Are Lorenzo and Jessica truly in love?” Ask
students to write an answer. Remind them that while the drama activity should have helped
them to explore the issue, they shouldn’t rely on it as evidence. They will need to go back
though the play to find quotations to support their point of view.
The big reveal
Discussion
●
“I don’t think there’s anything to redeem those people, I’m afraid. Everyone
●● behaves appallingly…at the end of The Merchant of Venice I couldn’t care less
●● about anybody. As for all that about the ring at the end, I could give Portia a
●● good slap. I wouldn’t ever go to see it again.” (Judi Dench )
Display this quotation and ask students to move to one side of the classroom if they agree and the
other if they disagree. Allow them to debate the issue. A useful trick here might be to give them a
bean bag or ball to act as a “conch” only the person who has it can speak; the others indicate that
they want to speak by raising a hand, meaning that the teacher doesn’t have to intervene too much.
Challenge each side to win people over from the other point of view. If a student can’t come up with
a reasonable counter argument then they have to move.
If you’re worried about student involvement, this exercise could be run in pairs. Two students meet
in the middle of the room and every time one of them makes a successful point, the pair must take a
step towards that person’s side of the room. To get the numbers right here you would have to allocate
sides to start with. For better results, you might want to give students planning time first.
Extension
This could be used as the initial planning stages for an essay response. After students have
debated, ask the class to share the best arguments they heard and use this to form the basis of
a response.
Support option
If needed, you could ask students to write their best points down on sticky notes. Ask students
to work in groups to arrange these and use whiteboard pens to link them up, jotting down
supporting quotations. If appropriate, go through exam board criteria with the class and check
that their plans give them enough scope to meet the criteria.

See Resource 5D for a sample extract question
linking the theme to the rest of the play. They should make reference to the context of the play.
●● How does Shakespeare portray the relationship between Jessica and Lorenzo?
●● Explore how far Shakespeare presents Jessica as an empowered female character.
●● To what extent is Lorenzo presented as a sympathetic character?
●● Explain how romance is an important theme in the play.
●● Write about how successful The Merchant of Venice is as a comedy.

RESOURCE 5A:
Conversation cards
LORENZO
In such a night
Did Jessica steal from the wealthy Jew
And with an unthrift love did run from Venice
As far as Belmont.
JESSICA
In such a night
Did young Lorenzo swear he loved her well,
Stealing her soul with many vows of faith
And ne'er a true one.
LORENZO
In such a night
Did pretty Jessica, like a little shrew,
Slander her love, and he forgave it her.
JESSICA
I would out-night you, did no body come;
But, hark, I hear the footing of a man.

RESOURCE 5A:
Conversation cards
Example annotations:
Verbs
Did: past tense, definite

she was there, so she is
sure! Accusatory?
Evening, darkness, moonlight, twilight? Swear: an oath religious

Jessica
connotations serious
In such a night Mockingly, wistfully, jokingly, accusingly (shouldn’t be broken)
Stealing: sneaky,
Bitterly, angrily, jokingly Did young Lorenzo swear he loved her well,
wrong, deceitful,
Sadly, painfully, archly Stealing her soul with many vows of faith daring and bold?
Dangerous (ambiguous)
And ne'er a true one Triumphantly, laughingly, brokenly
Also: change of tense

Spirit, core, essence, afterlife
Healthy, active, to past continuous
inexperienced, naïve, does this indicate that
energetic, juvenile,
she feels the “stealing”
immature?
hasn’t stopped? He
“did… swear” (and that’s
stopped), but is still
“stealing”?

RESOURCE 5B:
Teacher's notes
JESSICA
Jessica is notably quiet here in comparison
I am never merry when I hear sweet music. with how loquacious Lorenzo is. The line can
be played in different ways depending on your
LORENZO interpretation of her character. She could be
The reason is, your spirits are attentive: philosophical and attentive, or she could seem
unresponsive and moody.
For do but note a wild and wanton herd,
Or race of youthful and unhandled colts, Lorenzo eagerly takes on the role of the
teacher here, apparently taking his new
Fetching mad bounds, bellowing and neighing loud, guardianship very seriously. That he compares
Which is the hot condition of their blood; Jessica’s reaction to that of “youthful and
unhandled colts”, however, could reflect his
If they but hear perchance a trumpet sound, view of her. Has he always seen her this way?
Or any air of music touch their ears, Has the gloss worn off their relationship
already? Or does he really not understand what
You shall perceive them make a mutual stand, he’s implying?
Their savage eyes turn'd to a modest gaze
The sentimentality of the entire exchange could
By the sweet power of music: therefore the poet
be seen as a mockery of courtly language,
Did feign that Orpheus drew trees, stones and floods; especially when you consider the odd classical
references that they use at the start of the scene.
Since nought so stockish, hard and full of rage,
It’s almost as if they are playing at being proper
But music for the time doth change his nature. lovers. If taken this way, then Jessica’s one line
here could be quite comical, as she admits that
The man that hath no music in himself,
she doesn’t really get it, while Lorenzo might
Nor is not moved with concord of sweet sounds, seem foolishly pretentious.
Is fit for treasons, stratagems and spoils;
Lorenzo comments here that any man who
The motions of his spirit are dull as night isn’t “moved” by music cannot be trusted. This
And his affections dark as Erebus: seems to be a reference to Shylock, and so is
perhaps intended to comfort Jessica.
Let no such man be trusted. Mark the music.
Glossary
perchance: perhaps
Orpheus: in Greek mythology – a musician

Lorenzo drawing attention to nature and the almost- whose music could move inanimate objects.
magical effect of music fits with the idea that Belmont
acts as the “Green World” within this comedy ─a place stockish: stupid
in which characters can escape the rules of city life.
Its inclusion at this point of the play ensures that the concord: harmony
audience is brought firmly back into the comedy genre
after the tense court scene. treasons: betrayals
For more on the Green World theory, see: stratagems: plots
http://www.slideshare.net/suzieallen336/the-green-world Erebus: in Greek mythology – a part of the

underworld

RESOURCE 5B:
Student worksheet
JESSICA
I am never merry when I hear sweet music.
LORENZO
The reason is, your spirits are attentive:
For do but note a wild and wanton herd,
Or race of youthful and unhandled colts,
Fetching mad bounds, bellowing and neighing loud,
Which is the hot condition of their blood;
If they but hear perchance a trumpet sound,
Or any air of music touch their ears,
You shall perceive them make a mutual stand,
Their savage eyes turn'd to a modest gaze
By the sweet power of music: therefore the poet
Did feign that Orpheus drew trees, stones and floods;
Since nought so stockish, hard and full of rage,
But music for the time doth change his nature.
The man that hath no music in himself,
Nor is not moved with concord of sweet sounds,
Is fit for treasons, stratagems and spoils;
The motions of his spirit are dull as night
And his affections dark as Erebus:
Let no such man be trusted. Mark the music.
●● Look up the underlined words and annotate them.
●● Draw an image or symbol to represent each highlighted phrase.
●● What kind of atmosphere do you think that Lorenzo’s words create here? Think about
what happens directly before and after this: why does Shakespeare begin his final act
this way?
●● Jessica doesn’t say much in this exchange. What kind of mood do you think she’s in?
Consider what we know of her upbringing (look back at II:iv). Why might she have a
different reaction to music than Lorenzo?
●● Focus on the way in which Lorenzo is talking to Jessica. How do you think he views
her? What does he seem to be comparing her to?

RESOURCE 5C:
Emotion prompts
Jessica is disappointed Jessica feels guilty
Jessica is besotted Lorenzo regrets his

decision
Jessica feels
Jessica feels caged
inadequate
Lorenzo is worried
Lorenzo feels superior
about money

RESOURCE 5D:
LORENZO
Fair ladies, you drop manna in the way
Of starved people.
PORTIA
It is almost morning,
And yet I am sure you are not satisfied
Of these events at full. Let us go in;
And charge us there upon inter'gatories,
And we will answer all things faithfully.
GRATIANO
Let it be so: the first inter'gatory
That my Nerissa shall be sworn on is,
Whether till the next night she had rather stay,
Or go to bed now, being two hours to day:
But were the day come, I should wish it dark,
That I were couching with the doctor's clerk.
Well, while I live I'll fear no other thing
So sore as keeping safe Nerissa's ring.
Exeunt
Starting with this extract from the end of the play, explain how
successful you think The Merchant of Venice is as a comedy.

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The Merchant of Venice

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87 The Merchant of Venice

1 The Merchant of Venice

2 The Merchant of Venice

●● Students could mime the scene.

●● You could feed them key quotations.

For an excellent video of this see here:

Explore the setting

3 The Merchant of Venice

Investigate the play’s sources

4 The Merchant of Venice

●● Once they have completed their cards, students can partner

5 The Merchant of Venice

To find quotations from the text to support each link.

6 The Merchant of Venice

7 The Merchant of Venice

Using the scene cards (Resource A) students should:

Character and theme grids

8 The Merchant of Venice

●● Does Bassanio love Portia? ●● Is Jessica using Lorenzo?

●● Is Antonio to blame? ●● Was Shakespeare an Anti-Semite?

●● Is Shylock a villain? ●● Can the play still be funny today?

Hitting the news

●● Script for/performance of a radio news segment.

●● Script for/performance of a TV news programme.

●● A live twitter feed that follows the events of the play.

Cutting the script

9 The Merchant of Venice

This could be a continuation of the activity above.

Presentations could include:

●● A scripted, verbal pitch justifying all ●● Costume designs.

●● A PowerPoint/Prezi presentation. ●● A musical soundtrack.

●● An image board showing setting/ ●● A trailer (if technology allows).

10 The Merchant of Venice

Act____ Scene____ Act____ Scene____

Act____ Scene____ Act____ Scene____

Act____ Scene____ Act____ Scene____

Act____ Scene____ Act____ Scene____

Act____ Scene____ Act____ Scene____

Act____ Scene____ Act____ Scene____

Act____ Scene____ Act____ Scene____

11 The Merchant of Venice

For the full text in translation:

For the relevant extract and more information:

The Jew of Malta

For the full text:

12 The Merchant of Venice

13 The Merchant of Venice

Other Shakespearean protagonists:

Other Shakespearean malcontents:

Other Shakespearean antagonists:

14 The Merchant of Venice

Other Shakespearean lovers:

Other Shakespearean fools:

15 The Merchant of Venice

IV.i: Shylock refuses to take money over

Prejudice and discrimination

16 The Merchant of Venice

Love and courtship Friendship

17 The Merchant of Venice

The Merchant of Venice

Act Scene Act Scene

Act Scene Act Scene

Act Scene Act Scene

Act Scene Act Scene

Act Scene Act Scene

Act Scene Act Scene

Act Scene Act Scene