Tchaikowsky, André – Merchant of Venice, The – Vocal Score by Josef Weinberger

ANDRÉ TCHAIKOWSKY

THE MERCHANT OF VENICE

Opera in Three Acts and an Epilogue after William Shakespeare

Libretto by

JOHN O’BRIEN

Piano Reduction by Susan Bradshaw

Vocal Score edited by Lionel Friend

JOSEF WEINBERGER

THE MERCHANT OF VENICE

Opera in Three Acts and an Epilogue after William Shakespeare Libretto by John O’Brien

Music by André Tchaikowsky

Josef Weinberger Limited 12 – 14 Mortimer Street London W1T 3JJ United Kingdom

ISMN 979-0-57005-715-3

All rights of theatrical, radio and television performance, mechanical reproduction in any form whatsoever (including film and videotape), translation of the libretto of the complete opera or part thereof, are strictly reserved.

Cover artwork by kind permission of Polish National Opera from their 2014 production of The Merchant of Venice

CAST

J essica (High Soprano)

P ortia (Mezzo or Dramatic Soprano)

N erissa (Mezzo-Soprano)

a N to N io (Countertenor) *

B assa N io (Tenor)

L ore N zo (Lyric Tenor)

s hy L ock (Baritone)

s a L erio (Baritone)

D uke of Ve N ice (Baritone)

s o L a N io (Bass)

G ratia N o (Bass)

B oy (Treble)

P ri N ce o f a raG o N (Dancer)

P ri N ce o f M orocco (Dancer)

Boys’ Chorus

* The composer also envisaged the possibility of the role of A ntonio being sung by a mezzo-soprano / contralto.

SATB Chorus

SCENES

VENICE

The setting is the same for the entire act. The stage is divided in two by a small canal such that the left and right-hand sides of the stage form two separate acting areas, the one a small piazza with Shylock's house at the back – this has a door opening onto the piazza and above the door is a shuttered balcony; the other half of the stage represents different parts of Venice. A small bridge is the only link between the two piazzas. At the back of the stage there is the suggestion of a much wider canal flowing right across. At the end of the act it will be necessary to bring several gondolas across the back of the stage. The setting should be completed with a back cloth suggestive of an opulent, but not fussy Venice (hinting at Canaletto).

BELMONT

The entire act takes place at Belmont in a palatial hall. There is a grand doorway centre-back, several smaller doorways and alcoves, and a doorway leading onto a garden terrace. ACT THREE

VENICE

A Court of Justice over which the Duke of Venice presides. For the early part of the Act only the front half of the stage is revealed; the interior of the court room is hidden by a curtain or gauze which can be instantly withdrawn to effect a change of scene from an ante-room to the court itself. The curtain should suggest a sumptuous tapestry depicting the wealth, power and dignity of Venice.

EPILOGUE

BELMONT

328

The garden at night, with the moon rising. An entrance to the house is lit and musicians are playing within the house.

DURATION

c. 160 minutes

ORCHESTRA

Piccolo dbl. 3rd Flute

2 Flutes

2 Oboes

Cor Anglais

3 Clarinets (1. B b, A / 2. E b, A, B b / 3. B b, A, Bass Clarinet in B b)

2 Bassoons

Contrabassoon dbl. 3rd Bassoon

4 Horns in F

3 Trumpets in C, B b (1st dbl. Opt. D)

3 Trombones

Tuba

Timpani

Percussion

Bass Drum, 2 Bongos (1 small, 1 large), Castanets, Clashed Cymbals, Claves, Suspended Cymbal

Maracas, 2 Side Drums, Tambourine, Tam-tam, 2 Tom-toms (1 small, 1 large) (off-stage), Triangle Whip, Woodblock, 2 Glockenspiels (1 off-stage), Tubular Bells (off-stage), Xylophone

Celeste dbl. Piano

Harpsichord (N.B. Pit harpsichord in addition to consort harpsichord)

Harp

Strings

On-Stage Consort

Descant Recorder

Treble Recorder

Oboe d’amore in A

Oboe da Caccia in F

2 Bassoons

Lute

Tabor

Harpsichord

The first performance of THE MERCHANT OF VENICE was given on 18th July 2013 at the Festival Theatre of the Bregenzer Festspiele, Austria.

The production was directed by Keith Warner, and the cast included Adrian Eröd (Shylock), Christopher Ainslie (Antonio), Richard Angas (Duke of Venice) and Magdalena Anna Hofmann (Portia). The Wiener Symphoniker and Prague Philharmonic Choir were conducted by Erik Nielsen.

ANDRÉ TCHAIKOWSKY THE MERCHANT OF VENICE

Note on the Text

André Tchaikowsky’s magnum opus , his final creation and only opera, was completed – apart from the orchestration of the last 20-odd bars of the Interlude that follows Act 3 – shortly before his untimely death at the age of 46 in 1982. The libretto of The Merchant of Venice was skilfully and imaginatively fashioned from Shakespeare’s play by his friend and colleague John O’Brien. Tchaikowsky adapted this libretto to his own needs as he composed. They retained Shakespeare’s words as far as possible, whilst in view of the inevitably large number of cuts, there were frequent small modifications to smooth over joins, occasional modernization (such as “you” for “ye”), and sometimes lines were transferred from one scene to another, or even from one character to another. In addition they notably created two scenes that Shakespeare had unaccountably thought unnecessary: for Jessica and Lorenzo in Act 1 and for Nerissa and Gratiano in Act 2, the final versions of which were largely by Tchaikowsky himself.

Tchaikowsky’s almost fanatic obsession with Shakespeare was well known to both his musician and nonmusician acquaintances, and it has seemed unthinkable to allow the slips he made in transcribing the text to stand. Probably he often wrote from memory, an unreliable source. There are occasional obvious instances of compressing and updating the language (e.g. III/835-7, where “provided that he instantly become a Christian” has been substituted for Shakespeare’s and O’Brien’s “and for this favour he presently become a Christian”). In the majority of cases, however, his changes seem simply oversights that can even weaken the power of Shakespeare’s text without modifying the meaning in any significant way (e.g. his “mightiest in the mighty” in place of Shakespeare’s striking “mightiest in the mightiest”, III/453) and it is clear that many of the changes are plain mistakes. Examples are Gratiano’s “sleep like his grandsire” (I/165), where “sleep” rightly belongs only to the next phrase, and Jessica’s “in such a night did Thisbe fearfully o’ertrip the dew” (Epilogue/41) where he cannot have intended the “o’erstrip” that he actually wrote. Similar comparable slips occurred in his other Shakespeare settings, Ariel and the Seven Sonnets of Shakespeare. All who knew him agree that he would have wanted the text to be as authentic as possible, and so his departures from Shakespeare in the lines that are taken from the play verbatim have here been consigned to an Appendix, whilst Shakespeare’s original has been wherever possible printed with the vocal line throughout the score.

Lionel Friend, 2016

Te Merchant of Venice

Opera in 3 Acts and an Epilogue after William Shakespeare Act I

A piazza in Venice, with a canal and a bridge in view. One of the houses is Shylock’s.

Libretto by John O’Brien

Music by André Tchaikowsky

sotto voce sempre (accompagnando le viole)

Well, tell me now, what la dy - is the same to whom you swore Un poco più andante (q = 66) F

(accompagnando)

In pp misterioso

Bel mont - lives a la dy, - rich ly - left; and appena cresc. she is fair and, mp (non più) fair er - than that

Te door opens inward, but no one comes out. BASSANIO is now seen talking, indeed pleading, with someone obviously determined not to let him in. (Te Audience cannot see inside the house.)

SHYLOCK quickly comes out, slamming the door behind him on the frst beat of the next tempo, and strides down to the bridge, followed by BASSANIO.

SHYLOCK: (slamming the door)

Tempo precedente (q = 66), ma senza rigore

dered - a p

ors - are but men, a tempo, sempre stretto ed agitato sin’ al

broad. - Ships p are but boards, sail

and cresc. sempre then there is the per il - of winds, wa ters - and rocks!

FORPERUSALONLY

Chris tian; - but more, for cresc. that in low sim pli - ci - ty - he lends out mon ey -

FORPERUSALONLY

Or shall I bend low, and in a bonds man’s - key, with ba ted - breath and whisp’ ring - hum -

and for these cour te - sies - I’ll lend you thus much

rit.

Ay, p tranquillo

Animato ed urgente (in 4, ma veloce; e = 152-160)

this were kind (terminando tranquillamente) ness. -

what these Chris tians - are meno f whose own hard deal -ings tea cresc. molto ches - them sus -pect the thoughts of

p sub. o

thers! - Pray you, tell me this: If he should break his day, what

cresc. should I

Enter quietly LORENZO, unnoticed by JESSICA and AUDIENCE.

bar ren - and più p e morendo bound its life.

I shall end this strife, I will be come

Chris

and thy lo ving

dolciss. leggiero ritornando al tempo

bold and true,

marcia, ma l’istesso tempo (sempre q = 96)

(oﬀ-stage) Te chorus should be quite distant, so they need to sing forte in order to come through distinctly.

ears. Let pp not cresc. poco a poco the poco rit.

Tis frightens JESSICA the more for being said with no such intention; she quickly withdraws and closes the shutters.

Seeing nobody, he beckons to his friends.

GRATIANO cautiously steps forward.

Come, friends

Enter SALERIO and SOLANIO; then LORENZO, still absorbed in JESSICA’s letter. (LORENZO should come in from a diﬀerent direction from the others.)

we must make haste. Bas sa - nio - would have all Ven ice - dance f at his good for tune! -

(to himself)

If e’er the Jew her fa ther - come to heaven,

it will be for his fair daugh ter’s - sake.

it will be

SALERIO, SOLANIO and GRATIANO laugh noisily for two bars.

(LORENZO does not laugh)

= e (h = 108, in 1, come sopra) Z

f giocoso, ben articulato

Gra tia - no, - I pray thee, go in to - that house, tell gen tle -

Hearing the approaching Masques, JESSICA rapidly withdraws her head. o falsetto GRATIANO runs oﬀ laughing.

pa gan, - Most sweet Jew, A f dieu! pp -

CHORUS:

-stage, but nearer than before)

mf scherzando

Cu-pid is blind!

Te empty stage becomes lit by approaching torches (the MEN and the GIRLS should come from opposite sides)

(Still nearer, and approaching fast)

giocoso

-stage, but very near and approaching fast)

giocoso

enter, masked and with torches; among them are LORENZO, SALERIO, SOLANIO and GRATIANO unrecognized as yet by the audience.

Enter a group of masked GIRLS, some carrying torches.

FORPERUSALONLY

JESSICA: (appearing at the window, dressed as a page)

(stepping forward)

mf leggiero e brillante, scherz.

I should be ob scured. - Here, f

ad mire - and en

Animato (q = 108)

du cats - - and be with you straight!

But come at once, molto mp leggiero for the form èd - to a boy. thus trans form - èd - to a boy. see her thus trans formed.thus trans formed. -

FORPERUSALONLY

like the night. pp q = q. poco rit.

She slides down a silken curtain into LORENZO’s arms.

(LORENZO) GRATIANO steps forward.

pp dolciss. Be shrew p (non più) - me but I love thee ppp heart i -pp ly... a tempo (animato, sempre q = 108)

FORPERUSALONLY

GRATIANO, who was just about to leave with the rest, notices ANTONIO, comes tipsily up to him and taps him roughly on the shoulder.

much res pect - up on - the world; they cresc. molto lose it that do buy it with much care!

FORPERUSALONLY

BASSANIO’s gondola appears at the back of the stage and stops, awaiting him. GRATIANO disappears into it. ANTONIO waits on the bridge.

Andante (come sopra, q = 66)

Enter BASSANIO. Seeing ANTONIO alone, he comes up for a brief farewell.

his back to the audience, motionless until the end of the act.

Many more BOYS rush in from all side, surrounding SHYLOCK and forming an impromptu chorus.

She hath the stones up on - her and the du cats! -

daugh ter, - dog?!

je wels.she were hears’d at

du cats! - Would she were dead!

Te du cats! - Te du cats!p sub., scherzando Te du cats.f

SHYLOCK turns on the BOYS and drives them away, though not oﬀ-stage, with his walking-stick. He then resumes his rapid, agitated walk towards the bridge. He has not yet noticed ANTONIO, who is standing quite still on the bridge, sunk in grief.

(Impressed in spite of himself, whistles:)

do you re mem - ber, - in your fa ther’s - time, do you re mem - ber... -

True, ma dam, - true; he tranquillo was the best de ser - ving - of a fair la dy.stringendo molto

FORPERUSALONLY

To the Basses, pointing at the golden casket.

To the Tenors, pointing at the silver casket.

meno f, ma molto articulato e secco (quasi il Fagotto)

First, staccatissimo

FORPERUSALONLY

ARAGON bows his way out backwards.

quick ly - see who molto espress. comes dim. poco a poco to allargando

mp p seek his for tune

in me.

FORPERUSALONLY

NERISSA: (imitating PORTIA’s voice)

FORPERUSALONLY

Bas sa - - nio’s great est - friend. What he does I do, where he goes I go.

FORPERUSALONLY

let him choose his cas ket - well.

well, for p us to thrive.

p dolce e leggiero

So let my mas ter - choose his cas ket - well, so let him choose his cas ketFor p us to thrive.

Tey dance oﬀ into the background, from where they can eavesdrop on their masters.

wrong f I lose your com mp pa - ny; - there’s p cresc. some thing - tells me (but it is not love!)

I p

would not lose you, and you know your f self, -

Let mu sic - sound while he doth make his choice: then if he lose he makes a swan -like end, fa ding - in

Re ply, - re ply... pochiss.ply... ply, re ply...

’Tis p dolce en gen - -dered in the eyes, with gaz ing - fed,

Te sotto voce sempre world is still de (senza cresc.) ceived - with

all ring fan cy’s - knell, pp fan cy’s -

(BASSANIO) (pointing to the silver casket)

thou gau dy - gold, hard food for Mi das, - I will none of thee, nor p sub. ma marc. ed assai articulato none of Let us all ring fan molto dim. cy’s - knell. pp Let us all pp ma marc.

(BOY)

knell...

(PORTIA stops the stage-consort with an impatient gesture.)

Più lento

thee, thou pale and com mon - drudge ’tween man and man. più p But thou, thou mea grering fan cy’s - knell.

pp ma marc.

new. If you be well pleas'd - with this, and

hold your for tune - for your bliss, pp grazioso turn you to the la dy - and

ppp

dy! -my Lord and La dy, - my f Lord and La ff dy! -

so lem - nizemp leggiero the bar gain - of your faith, mf cant. I do be seech - you, even at that time dolce

I do be seechleggiero you, even at that time p

With all my heart, so thou canst get a

FORPERUSALONLY

steals the co lour - from Bas sa -

nio’s - cheek?

FORPERUSALONLY

poco meno mosso, come sopra (h = c. 60)

val ue - of the sum that he did owe him.

pochiss. it will go hard with poor An to - nio. pp1230 de ny - not, p sub. it will go hard, it will go hard hard, sotto voce it will go hard. It p poco will go hard

Doppio più lento (q = 60) e poco a poco stringendo il tempo (sin’ al “Allegro con brio”)

(aside to NERISSA)

mf leggiero and guard my house.

Hear me, Gra -tia no, - I must a way.go?

Oh, good molto cantabile, in rilievo, ma non troppo forte Ma dam, -

- with all our hearts we shall o bey - you

FORPERUSALONLY

Largamente (q = 56)

Venice. A Court of Justice.

SALERIO, who has not been to Genoa and knows that Jessica hasn’t either, enters into the joke immediately: the point is to mislead SHYLOCK about his daughter’s whereabouts.

(Ostensibly to SOLANIO, but obviously for SHYLOCK’s beneft.)

He tosses the ring to SOLANIO

He fashes the ring.

and again

but this time

Le ah - as a ba che - lor; - I would not have giv en - it for a

de vil - be her judge. cer tain, -

leggiero if the de vil - be her judge.

FORPERUSALONLY

Enter ANTONIO at the back, unnoticed by the OTHERS.

lone. He

seeks my life; his rea son - well I know.

ANTONIO shakes his head.

(quasi cadenza) veloce

ppp senza vibr. And if you wrong us, shall

FORPERUSALONLY

not? Ten dolce must the Jew be mer ci - ful.stretto

Ay, p indiﬀerente so he says. On pp pp p p

(SHYLOCK) senza dim.

and him that takes. ’Tis

pp migh tiest - in the migh tiest, - it be comes - the thro nèd -

(PORTIA) cresc. possibile

thro - nèd in the hearts, the

hearts, the f hearts of kings, of p

kings.

I be seech - you, wrest once the law to your au tho - ri - ty.

soul I swear, there is no

ex e - cra - ble - dog! Wol vish,pp bloo dy, - starv’d and ra ve - nous - dog! bloo pp (ma sempre molto articolato) dy, - starv’d and ra ve - nous,

(pp sempre)

FORPERUSALONLY

lit tle; - I am well pre pared.molto p, semplice

Give me your

hand, Bas sa - nio, - fare you well. Grieve poco

dolce not that 573 p pp I am fall en - for you, dim. for here in - For tune - shows her self - kind.

and p poco a poco cresc. when the tale is told,

p bid her be judge whe ther - Bas sa - nio -

(accompagnando Bassanio)

Re p pent - but you that you shall lose your

An p ma sost. to - nio, - I am mar -ried to a wife friend, and poco cresc. he re pents - not that he pays your mp debt; for p sub. if the Jew do cut but

Your p poco wife would give you lit tle - thanks for that!

SHYLOCK produces a large knife and a pair of scales.

fnds himself face to face with PORTIA, who has stepped, swiftly but quietly, in front of

else. Tis f bond doth give thee here no jot of Allegro moderato e maestoso (q = q)

molto cresc. mp

blood: the words ex press - ly - are “a pound of fesh.”

right eous - judge!”

(spoken tonelessly)

I take this of fer - then. Pay the bond thrice, and let the Chris tian - go.

Jew shall have all jus tice.

scherz.

FORPERUSALONLY

nay, if the scale do turn but in the es molto ti - ma - tion - of a hair, thou

(PORTIA)

(Sempre l’istesso tempo, senza slentare) 765 p sim. Take thy for fei - ture. -

p dolciss.

Why doth the Jew (p) pause?

say? Clerk,

draw a deed of gift.

pray you, give me leave to go from hence:

Send senza espress. the

ANTONIO: (to PORTIA, oﬀering the bag of ducats) THE DUKE and the MAGNIFICOES leave, as they came, in stately procession. SALERIO and SOLANIO

Te outer doors open again.

Dear f sir, take some re mem - brance - of us as a

He stops, overcome by the bells, .

Dear sir, take some re mem - brance - of us as a tri bute...Good youth,

Te cortège fles out.

tri bute, - not

He gives up, overcome by the bells. 3

as a fee!

...not as a fee!

take f some re mem - brance - of us as a tri bute,not as a

From here on ANTONIO, GRATIANO and BASSANIO mime their entreaties, unable to make themselves heard.

And for your

love

Give me your gloves. And for poco your love

I’ll take this

FORPERUSALONLY

Good sir, this ring was giv en - me by my wife!

Good f youth, this ring was giv en - me by my wife!

wife be not mad and know how well I have cantabile de serv’d - this (senza rit.)

And f if your wife be not mad and know how well I have cantabile de serv’d - this

(PORTIA)

ring. She f would ne ver - de ny senza dim. - me the gift!

(NERISSA)

Meno mosso 953 ring. She f would ne ver - de -

My Lord Bas sa - nio, - let p sub. him have the ring. p ny senza dim. me the gift! 958

(NERISSA) . PORTIA and NERISSA start to leave, ostensibly annoyed, secretly delighted.

Tey pause, however, and listen with suppressed indignation.

Interlude

Grave e sostenuto

Belmont. Te garden at night, with the moon rising.

CURTAIN

Enter slowly LORENZO and JESSICA, in a tender embrace.

FORPERUSALONLY

he for gave - it her.

Adagio placido (h = 48)

will we let the sounds of mu sic - creep in our ears,

Soft ppp misterioso still ness -

FORPERUSALONLY

youth ful - and un hand - led - colts cresc. (non troppo, sempre leggiero) fetch ing - mad bounds, bel low - ing - and neigh ing -

JESSICA:

FORPERUSALONLY

Me p dolce thinks - it sounds much sweet pp er - than by day.

Ma dam, - of the house. Si p lence - be stows - that

dolciss.

He knows me as the blind man knows the

We p tranquillo have been pray ing - for our hus bands' - wel fare - Are they re turn’d? -

Allegro moderato (q = 84)

gave it him, would he were gelt! since p sub. you do take it, love, so much at

(NERISSA) > weeping:

talk you of the po sy - or the va lue? - You swore to keep it, to

(GRATIANO)

cut ler’s - po e - try; - the f boy had begg’d it as a fee: I could not for my heart de ny - it

wear it till your hour

him.

ring? What ring? What mf cresc. ring

his ring a way - un to - the judge that begg’d it and de serv’d - it

too!

scherz.

pp Ev ff en - so is your

See: my fn ger - hath not the ring on it, it pp is gone.

tempo, accelerando poco a poco (sin’ al “Agitato”)

(PORTIA)

(NERISSA)

sotto voce

If you had known the mfpp vir tue - of the ring,

sotto voce

If you had known the vir tue -

(BASSANIO)

If sotto voce you did know to whom I gave the ring, pp

(PORTIA)

FORPERUSALONLY

mezza voce

or half her worth -i ness - that gave the ring,

of f sub. the ring, or mezza voce had but lov’d her who gave the ring, if mezza voce you did know for whom I gave the ring, mp

(GRATIANO)

or mp cresc. your own hon our - to con tain - the

and mp would con ceive - for what I gave the ring, mp If you had known to whom I p ring, f you f would ff not then have

you ff would not then mf cresc. molto and how un will - -ing ly - I left the ring, when nought would gave f the ring, p mp cresc. molto if you did know for whom I gave the ring, and how un

par ted - with the ring!

have par ted - - with the ring! be ac cept - ed - but the ring, ff Sweet Por tia!wil ling - ly - I left the ring!

FORPERUSALONLY

have that doc tor

to bed, I’ll have that doc tor - to bed, I will de ny -

lie with that same boy, I’ll lie with that same boy, I him no thing, - no senza dim. -thing that I have! rit. molto Andante con moto (q = 58)

ANTONIO, who had remained unnoticed, now steps forward.

break an oath dolce with thee! p

p p I mp dolce once did lend my bo dy - for his wealth, 480 p which but for him that had f your hus band’s - ring had quite mis car - ried. p485 p

I dare be bound a gain, - my soul f up on - the for feit, - your

p sub. p sub.

FORPERUSALONLY

Tempo precedente (q = 58) R

ring, and scherzando, senza cresc. bid him keep it bet ter - than the o ther! -

Here, ff solenne Lord Bas sa - nio,molto cresc.

swear to keep this ring!

FORPERUSALONLY

(

can it (pp) be?

How can it (pp) be? be? How senza cresc. can it be? What, f are we cuck olds?!

Speak ff not so gross ly! - You ff sempre are

Largo (q = 46) Vivace come sopra (q = 100) T

ppp

I am dumb!

clerk. Ay, p I was the clerk. ppp

I am dumb! ppp

I am dumb! Were p you the doc tor - and I knew you not? ppp I am dumb! ppp I

doc tor - and you knew me not.

but the clerk that ne ver - means to do it, un leggiero less - he live un -

doc tor, - you shall be my bed fel - low!p sub., scherz. When I am ab sent,pp scherz. I shall be p

Ha, ha, ha, ha, ha, ha, ha, ha!

Ha, ha, ha, ha! Ha, ha, ha, ha! Ha!

Ha, ha, ha, ha, ha, ha, ha, ha!

Ha, ha, ha, ha! Ha, ha, ha, ha! Ha!

Ha, ha, ha, ha, ha, ha, ha, ha!

Ha, ha, ha, ha!

Ha, ha, ha, ha! Ha, ha, ha, ha! Ha!

Ha, ha, ha, ha! Ha, ha, ha, ha!

Ha, ha, ha, ha, ha, ha, ha, ha! Ha, ha, ha, ha! Ha, ha, ha, ha!

L’istesso tempo, ma tranquillo (q = q ) U

PORTIA now points to the east, where dawn is breaking. A sudden hush falls on the COMPANY.

ppp senza cresc. It is al most(ppp) mor ning! - Let misterioso us go in... (q = q sempre sin’ al fne)

Te THREE COUPLES slowly enter the house. ANTONIO remains downstage motionless in the growing light.

stays quite still throughout all this.)

Act / Bar Text

APPENDIX

Words written by André Tchaikowsky that have been replaced in the present score with Shakespeare’s original text.

I/129, 130 S ALERIO, SOLANIO “We leave you now to better company”

I/165 G RATIANO “ sleep like his grandsire”

I/181 G RATIANO “I do know of those, who therefore only are reputed wise”

I/201 G RATIANO “ Why, ”

I/252 A NTONIO “what lady ’tis the same”

I/345 B ASSANIO “that I shall questionless”

I/390 S HYLOCK “Tripoli s ”

I/450 S HYLOCK “ you spit upon”

I/462 S HYLOCK “foot me as you would a stranger”

I/498 A NTONIO “a breed of barren metal”

I/543 S HYLOCK “to the notary”

I/996 J ESSICA “I must be obscured”

I/1006 L ORENZO “ Nay, come at once”

I/1065 G RATIANO “with such care”

I/1078, 1080 A NTONIO “play his part”

II/40 P ORTIA “that I can neither choose whom I would nor refuse whom I dislike”

II/112 N ERISSA “what strength is there”

II/214 N ERISSA “to the noble prince”

II/467 P ORTIA “that which you find here ”

II/734 P ORTIA “lock’d in one of these ”

II/745 P ORTIA “he make a swanlike end”

II/770 B ASSANIO “deceiv’d by ornament”

II/778-9 B OY “in the grave wherein it lies”

II/783, 785, 787 B OY, CHORUS “ sing fancy’s knell”

II/810 B OY “You who choose not by the view”

II/830-3 B OY “If you be content with this, and count your fortune as your bliss”

II/848 P ORTIA “ as I stand”

II/868 P ORTIA “happiest of all in that her gentle spirit”

II/917 P ORTIA “ lord! ”

II/923 P ORTIA “which if you part from”

II/934 B ASSANIO “then part life”

FORPERUSALONLY

II/954-5 G RATIANO “ saw our wishes prosper, saw our wishes prosper”

II/1010 P ORTIA “ find a husband”

II/1020 P ORTIA “is this so, Nerissa?”

II/1124 S ALERIO “and I have reasons for it”

II/1150 P ORTIA “What steals the colour in Bassanio’s cheek?”

II/1160 B ASSANIO “let not this letter”

II/1205 S ALERIO “Never have I known ”

II/1221 G RATIANO “It will go hard for poor Antonio”

II/1234 L ORENZO “It will go hard for poor Antonio”

II/1305 P ORTIA “I thank you for the wish!”

III/42 S OLANIO “ ’Tis certain”

III/104 S HYLOCK “It is my turquoise”

III/157 A NTONIO “his reasons well I know”

III/161 A NTONIO “that I can hardly spare”

III/168 A NTONIO “Bassanio comes to see me pay”

III/197 A NTONIO “I am the tainted wether”

III/265 D UKE “and where thou would’st exact the penalty”

III/293 B ASSANIO “Do all men kill the thing they do not love?”

III/364-70 S HYLOCK “I shall execute, and it will go hard but I shall better the instruction…”

III/379 S HYLOCK “The pound of flesh that I demand of him”

III/380 S HYLOCK “ is mine”

III/453 P ORTIA “mightiest in the mighty ”

III/458, 459, 460 P ORTIA “ heart of kings”

I II/476 P ORTIA “none of us would reach salvation”

III/493 S HYLOCK “If ev’ry ducat in three thousand ducats”

III/531 P ORTIA “there’s twice thy money”

III/551-6 S ALERIO, SOLANIO, GRATIANO “ Inexorable dog!”

III/609 A NTONIO “Repent but you that you will lose a friend”

III/621 B ASSANIO “sacrifice my wife ”

III/626 P ORTIA “your wife would give you little thanks for this ”

III/627 G RATIANO “I have a wife whom I protest I love”

III/630 N ERISSA “’Tis well you offer this behind her back!”

III/735 S HYLOCK “I take his offer then”

III/755 P ORTIA “nor more than just a pound”

I II/759 P ORTIA “the scales ”

III/767 P ORTIA “Why does the Jew pause?”

III/848 P ORTIA “draw the deed of gift”

III/850 S HYLOCK “I pray you, let me leave to go”

III/944 N ERISSA “ Thi s ’scuse”

III/952 P ORTIA, NERISSA “deserv’d the ring”

Epil/41 J ESSICA “fearfully o’erstrip ”

Epil/121 L ORENZO “Here will we let the sound of music”

Epil/226 L ORENZO “youthful and untrainèd colts”

Epil/257 P ORTIA “how far this little candle”

Epil/353 G RATIANO “will and if he live to be a man”

Epil/357 G RATIANO “by my hand”

Epil/356 N ERISSA “if a woman grow to be a man!”

Epil/362 P ORTIA “part so lightly ”

Epil/375-6 G RATIANO “gave his ring away upon the judge”

Epil/384 P ORTIA “which you receiv’d from me”

Epil/421, 424 B ASSANIO, GRATIANO “and how unwillingly I gave the ring”

Epil/424 P ORTIA, NERISSA “part-ed from the ring!”

Epil/493-5 A NTONIO “your lord shall never break his faith”