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y Ariel! What, Ariel, I say! [Enter Ariel.
hanks, gentle Ariel, who hast again
one all my bidding. But for thee my art
ad halted ere its best. Once more receive
y thanks, who am much bound to thee.
Ariel. This time,
ood master Prospero, I serv’d for love
ot duty, and I count your thanks reward
fullest measure. And there be nothing else
ou would of me, then, Prospero, adieu.
rospero. Adieu, gentlest of spirits, Ariel.
[Exit Ariel.
Thunder heard and Prospero vanishes.

Scene VIII.

A room in the palace at Naples.

[Enter Ferdinand and Miranda.
Miranda. O Ferdinand, my love, last night I slept
nd sleeping dream’d, and in my dream I saw
he isle where first you knew me, where we told
ach to the other our fond loves. Methought
was by you companion’d and the hours
d move to music while there pass’d before
ur wond’ring eyes, as for our sole delight,
many folk, strange sorted, who did talk
gether, and at whiles as ’twere a play
nd we beholding it. ’Twas wondrous strange.
Ferdinand. O, my Miranda, sure some power we wot
ot of doth play with us as we at chess
o move the pieces this way first and that,
ecause our will is to’t. Know then that I
d dream the fellow unto yours (if it
very truth were that and nothing more).
ke you, I vis’ted that sweet spot, with you
eside the while, and did behold, as on
stage a company of players strut
heir hour or two, a band of merry folk
ith some that wept and cried out upon fate.
ho knoweth, my Miranda, what doth hap
us when we do sleep? At whiles we note
slumber tokens of a life apart
om this, alike, yet not alike, and who
ay say how far the spirit wanders when
he body sleeps?
Miranda. Would all my dreams were like
this we’ve wak’d from, for ’twas sweet, yet sad,
nd not so sad but that ’twas sweet the more.
would it were to dream again.
Ferdinand. Who knows,
weet Saint Miranda, but it will return?
Soft music again heard.
[Exeunt Ferdinand and Miranda.
 II

THE MERCHANT OF VENICE:

ACT SIXTH
 THE MERCHANT OF VENICE:
ACT SIXTH

Scene I.

Venice. A street.
Enter Shylock, followed by a rabble of shouting citizens.
First Citizen. Shylock, how speeds thy business at the court?
here is the pound of flesh thou covetest?
Second Citizen. How likest thou the judge from Padua?
Third Citizen. Eh, Jew, an upright judge! thou hast my lord
he duke to thank for thy poor life. Had I
ut been thy judge a halter had been thine,
nd thou had’st swung in’t, yet, beshrew my life,
were pity that good Christian hemp were stretch’d
hang a misbegotten knave like thee.
Fourth Citizen. Shylock, thou infidel, thou should’st have had
he lash on thine old back ten score of times
e they had suffer’d thee from out the court.
Fifth Citizen. A beating shall he have, e’en now, the knave.
[Beats Shylock.
Shylock [striking about him angrily] Aye! kill me, dogs of Christians,
an’ ye will!
eseems the Jew hath no more leave to tread
he stones on Christian streets; he may not breathe
he air a Christian breathes, nor gaze uncheck’d
pon the Christian’s sky; he hath no part
r lot in anything that is, unless
Christian please to nod the head. I hate
e, brood of Satan that ye are! May all
he plagues of Egypt fall upon ye, dogs
f Christians; all the pains—
Fourth Citizen. Nay, gentle Jew,
s said thou must become a Christian, straight;
d Shylock, turn perforce, a “Christian dog!”
ow, greybeard infidel, how lik’st thou this?
Shylock. Eternal torments blister him that asks.
[Exit Shylock, raving.
Second Citizen. A sweet-fac’d Christian will our Shylock make.
would that I might be his cònfessor,
lay such swingeing penance on the knave
s scarce would leave him space to sup his broth
mid the pauses of his punishment.
[Exeunt citizens, with shouts.

Scene II.

Venice. A Room, in Shylock’s House.

[Enter Shylock and Tubal.
Tubal. How now, Shylock! What bitter woe looks from thy face?
What has chanced to thee in the Christian’s court to make thee thus
distraught?
Shylock. O Tubal, Tubal, there dwells no more pity in the
Christian breast than there abides justice therein. I stood for justice
and mine own, before them all; before that smiling, smooth-faced
judge from Padua, and with those false smiles of his he turned
against me the sharp edge of the law. He forbade the shedding of
one drop of the merchant Antonio’s blood—naming therefor some
ancient law, musty for centuries, and that still had gathered dust till it
 would serve to bait the Jew with—and so I lost my revenge upon
Antonio. More than that, good Tubal, I lost everything I had to lose.
Tubal. Lost everything! Now, by our ancient prophets, this is woe
indeed.
Shylock. Aye, good Tubal. The half my goods are now adjudged
Antonio’s; the other half, upon my death, goes to the knave,
Lorenzo; that same he that lately stole my ducats and my daughter.
Tubal. And merry havoc will he and thy daughter Jessica make of
thy treasure, Shylock.
Shylock. But there is greater woe to come, good Tubal. To save
this poor remainder of a life have I this day sworn to turn a Christian.
Tubal. Thou, turn Christian! O monstrous deed! Our synagogue
will be put to everlasting shame for this. Nay, good Shylock, it must
not be. It must not be.
Shylock. Have I not said that I am sworn on pain of life? They
would e’en have had my life almost in the open court had I not so
sworn. But hear me, Tubal; I will not die till that I have bethought me
of some secret, sure revenge upon Antonio, or failing this, upon the
taunting, sneering fool they call Gratiano, whom I do loathe e’en as I
loathe Antonio. Moreover I would gladly do some deadly hurt unto
the accursed Paduan judge, an’ it might be so.
Tubal. Then wilt thou still be Hebrew at the heart, good Shylock?
Shylock. How else while yet I bear remembrance of my wrongs?
Have not many of our chosen people done this selfsame thing for
ducats or for life? Kissed the cross before men’s eyes, but spurned it
behind their backs? As I shall do, erewhile. But, O good Tubal, the
apples of Sodom were as sweet morsels in the mouth unto this that I
must do.
Tubal. Hebrew at heart, albeit Christian of countenance.
y, Shylock, it is well. It is well.
[Exeunt.
 Scene III.

Venice. Interior of Saint Mark’s.

Organ music heard. Enter a company of noble Venetians with the
Duke and his train, accompanied by Bassanio, Portia, Antonio,
Gratiano, Nerissa and others. Following these, at a little
distance, appear Lorenzo and Jessica, the latter gorgeously
attired. The company pauses before the font. Shylock enters
from the left, led forward by a priest. His gaberdine has been
exchanged for the Christian habit, and in his hand is placed a
crucifix.
Duke. Old Shylock, art thou well content to do
s thus we have ordain’d, which is, that thou
enounce thine ancient Jewish faith, repent
hy sins, and take the holy, solemn vows
Christian takes when on his brow the drops
aptismal glister, and be nam’d anew
ter the Christian custom of our land?
Shylock. Most noble duke, I am content, and do
ereby renounce my nation and my faith,
nd, which is more, raze out of mind the name
hat I have borne these three-score heavy years,
nce it is thy command.
Duke. Cristofero
halt thou be call’d hereafter. Now, good priest,
hine office do with ceremonies meet,
nd make this greybeard Jew a Christian straight.
Solemn music heard, after which Shylock is baptized by the priest,
Antonio at the command of the Duke standing godfather to the
Jew, who makes the required responses in a low voice. While he
is still kneeling the company converse in an undertone.
Gratiano. I much mislike this new made Christian’s face
or would I trust Cristofero for all
s Christian name and meekly mutter’d vows.
 Portia. Nay, Gratiano, question not the heart
or rudely draw aside the veil that speech
angs ever ’fore the spirit. Who may say
hat e’en the best among us keeps a faith
oyal to every smallest clause, or does
ot slip at whiles amid the thousand small
equirements of the law. And yet, we do
plore a gentle sentence on these sins
f ours, a pardon that shall make us whole.
for ourselves, then trebly for the Jew
ew come, bewilder’d, to our Christian creed.
Antonio. There will be space enow to doubt the Jew
rn’d Christian, Gratiano, when he shall
ve cause for doubt. ’Twere scantest charity
l then, to bear with him, as we do bear
urselves unto our fellow Christians all.
bitter lesson hath he lately conn’d,
nd he were mad indeed that should neglect
profit by’t.
Gratiano. Belike, belike ’tis thus,
ut yet I do not like Cristofero’s looks;
not be argu’d out of that, i’ faith,
nd say’t again, I much mislike his favour.
Nerissa. Peace, Gratiano, dost not note the duke
ommands to silence, and would speak once more?
hou wilt be ever talking, as thy wont.
Duke. Cristofero, thou bear’st a Christian name
om this day forth. Then look to’t that thou dost
all things as a Christian, not as Jew.
Shylock. In all things as a Christian. Yes. [Aside] Why that’s
evenge! Revenge!
Duke. So must thou quit thy house
Jewry, dwell mid Christian folk, and go
ith Christian folk to church on holy days,
nd wear henceforth the cross thou did’st disdain.
ost hearken unto us, Cristofero?
Shylock. I hear but to obey, dread duke; and thank
hee for thy clemency to me, once Jew,
ut now, within this very selfsame hour,
gasping new born Christian, all unschool’d
duties other Christians know full well,
et earnest still, to act the Christian’s part,
ith hope to better his ensample set.
Gratiano [aside to Bassanio] For all thy gentle Portia saith but now,
ke not such smooth terms from out those lips.
Bassanio [aside] Peace, Gratiano, let him say his say,
e cannot now do aught to injure thee.
[Exeunt Duke and train with Antonio and
friends. Lorenzo and Jessica come forward.
Jessica. How now, good father Cristofero; what a pair of
Christians are we both. Only there’s this difference betwixt us, good
father. I am a Christian for love of a husband and you have turned a
Christian for love of your ducats.
Shylock. Ungrateful daughter; Why did’st thou go forth from my
house by night and rob thy grey-haired father of his treasure?
Jessica. Why? That’s most easy of answer. Why, because I
desired a Christian husband and there was no coming by my desire
save by secret flight from your most gloomy chambers; and since
neither my Christian husband nor your daughter Jessica could by
any kind of contriving live upon air alone, we had, perforce, to take
with us some of your ducats for the bettering our condition. Speak
thou for me, Lorenzo. Was it not e’en so?
Lorenzo. Old man, I am sorry for that I was forced to take from
you your daughter and your ducats against your good pleasure, but I
must tell you that I loved her as myself [Aside] nay, much more, my
Jessica,—and by reason of this great love of mine, and because of
your exceeding hatred towards all Christians did I take her from your
house. And since, moreover, as the maid very truly says, there’s no
 living i’ the world without the means to live, because of this did we
make shift to take with us from your house such means, as well
advised you would not have your daughter lack for food and suitable
apparel, and since we are now Christians all, what matters it?
Shylock [slowly] Ay, what matters it? We are now Christians all,
as thou sayest, and, I remember me that I have heard it said it is a
Christian’s duty to forgive all who have wronged him. Therefore I
forgive you, Jessica—for robbing your old father; and you, Lorenzo, I
forgive—for stealing my daughter. You are each well mated. But I
would be alone a while. Go, good Jessica. Go, son Lorenzo.
[Exeunt Lorenzo and Jessica.
Shylock [alone] A curse pursue the twain where’er they go.
Christian-Jewish curse, since that should be
eightier than either singly. Would that I
ght see them dead before me, while I live,—
uch love I bear my daughter, and my son.
[Gazes about the church.
hese be the images of Christian saints
hom I must bend the knee before when men
ook on. And here the Virgin; here the Christ.
ow must I kneel; a hundred eyes perchance,
eer at me through the gloom. A hundred eyes
ay see me kneel, yet shall they not perceive
he scorner of the Christian hid within
he humble figure of the man who kneels.
ow, by the prophets, whom I reverence,
nd by these Christian saints whom I do scorn,
wear to nourish my revenge till those
eepest hate are dead, or sham’d before
heir fellows. But how this may be, I know
ot yet, for all the way were dark as night
efore me, save that my revenge burns red.
[Choir heard chanting in a distant chapel.
[Rises from his knees.
ood fellow Christians, it may hap the Jew
 rn’d Christian, shall yet do a harm to ye.
ehind Cristofero’s mask is still the face
f Shylock; in his breast the heart unchang’d.
[Choir heard chanting Judica me Deus.
ea, my good fellow Christians, I do thank
e for that word, and hug it to my heart.
enceforth it shall be mine, when I do pray,
ot to thy Christ, but unto Israel’s God!
ive sentence with me, O my God; defend
y cause against the hosts that wrought me ill.”
[Choir in the distance, responding Amen.

[Exit Shylock.
 NOTE BY WILLIAM J. ROLFE, Litt.D.
It is a tribute of no slight significance to Shakespeare’s skill in the
delineation of character that we instinctively regard the personages
in his mimic world as real men and women, and are not satisfied to
think of them only as they appear on the stage. We like to follow
them after they have left the scene, and to speculate concerning
their subsequent history. The commentators on Much Ado, for
instance, are not willing to dismiss Benedick and Beatrice when the
play closes without discussing the question whether they probably
“lived happily ever after.” Some, like Mrs. Jameson and the poet
Campbell, have their misgivings about the future of the pair, fearing
that “poor Benedick” will not escape the “predestinate scratched
face” which he himself had predicted for the man who should woo
and win that “infernal Até in good apparel,” as he called her; while
others, like Verplanck, Charles Cowden-Clarke, Furnivall, and
Gervinus, believe that their married life will be of “the brightest and
sunniest.”
Some have gone back of the beginning of the plays, like Mrs.
Cowden-Clarke in her Girlhood of Shakespeare’s Heroines, and
Lady Martin (Helena Faucit) in her paper on Ophelia in Some of
Shakespeare’s Female Characters.
Others, like Mr. Adams, have made the experiment of continuing
a play of Shakespeare in dramatic form. Ernest Renan, in France,
and Mr. C. P. Cranch, in this country, have both done this in the case
of The Tempest, mainly with the view of following out the possible
adventures of Caliban after Prospero had left him to his own devices.
These and similar sequels to the plays are nowise meant as
attempts to “improve” Shakespeare (like Nahum Tate’s version of
Lear, that held the stage for a hundred and sixty years) and sundry
other perversions of the plays in the eighteenth century, which have
damned their presumptuous authors to everlasting infamy. They are
what Renan, in his preface, calls his Caliban,—“an idealist’s fancy
sketch, a simple fantasy of the imagination.”
Mr. Adams’s Sixth Act of The Merchant of Venice is an
experiment of the same kind; not, as certain captious critics have
regarded it, a foolhardy attempt to rival Shakespeare. It was
originally written for an evening entertainment of the “Old Cambridge
Shakespeare Association.” No one in that cultivated company
misunderstood the author’s aim, and all heartily enjoyed it. I believe
that it will give no less pleasure to the larger audience to whom it is
now presented in print.
 Transcriber’s Note:
Words may have multiple spelling variations or inconsistent
hyphenation in the text. These have been left unchanged. Obsolete
words, alternative spellings, and misspelled words were not
corrected.
Obvious printing errors, such as backwards, reversed, upside
down, or partially printed letters and punctuation, were corrected.
Final stops missing at the end of sentences and abbreviations were
added. Duplicate words at line endings were removed. Right-aligned
stage directions were adjusted so that all are preceded by an open
bracket.
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vast collection of books, ranging from classic literary works to
specialized publications, self-development books, and children's
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Our website is not just a platform for buying books, but a bridge
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Let us accompany you on the journey of exploring knowledge and

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ebookultra.com