The Play
Site by Jonathan Star
All Material copyright (c) Jonathan Star, 2009
The Merchant of Venice
A Contemporary English Version, with Notes and Commentary
by Jonathan Star
A Note on this "Translation"
I have attempted to “translate” this work from the Early English of Shakespeare into contemporary Modern English while preserving the emotive and rhythmic power of the original text. I have been careful to try and present the true meaning of the original lines as well as the iambic pentameter and the rhyme schemes; however, in a few places, I have suggested some radical departures from the original text—not so much to change the intent of the original but to try and bring it more clearly into focus for the modern reader.
A “translation” of this sort not only involves a clarification of the original words (where needed) but also a translation of the Elizabethan mindset as well. For example, the controversy over usury during Elizabethan times carried a lot more vehemence and emotional power than it does today—and, the nexus of the play centers around this conflict. However, if the Elizabethan understanding of usury is not brought to bear for the modern reader, than the driving force behind much of the action is lost. In a modern reading of the play the central conflict appears to be between Antonio, a Christian, and Shylock, a Jew, when it is more immediately between Antonio, a righteous Christian man, and Shylock, an unethical money-lender (who is also Jewish). To convey the Elizabethan attitude toward usury (and Antonio's attitude in particular) I decided to add a few lines to the original. Thus, the "revised version" of the play opens with Antonio telling of his hatred of the institution of usury, rather than about his sadness (which is a theme found in the opening lines of the, though out of sync and irrelevant to the rest of the play). Several other emendations to the text (including a critical reply to Shylock’s famous speech about the likeness between Christians and Jews), and a new scene where Shylock reveals the reason why he asked for a “pound flesh” have also been added. All the emendations have a purpose: they are meant to clarify the action of the play and make the motivations of the characters more precise.
Sample Selections
Before downloading the whole play, you can look at a few selections:
>> See Sample Selections
1.1 Emended opening scene (with Antonio's view on the practice of usury)
1.2 Portia, in Belmont, describing her suitors
1.3 Shylock with Bassanio, in Venice
2.1 Morocco, in Belmont, before the caskets
2.1a Emended scene where Shylock is telling Tubal why he asked Antonio for a pound of flesh
Files available for download:
Merchant_of_venice_12.pdf
1. A complete version of the rectified play, with notes, commentary, and alternative renderings.
Additional_Notes.pdf
2. Additional notes, which offers extensive background material, commentary, and staging.
All Material copyright (c) Jonathan Star, 2009
The Merchant of Venice
A Contemporary English Version, with Notes and Commentary
by Jonathan Star
A Note on this "Translation"
I have attempted to “translate” this work from the Early English of Shakespeare into contemporary Modern English while preserving the emotive and rhythmic power of the original text. I have been careful to try and present the true meaning of the original lines as well as the iambic pentameter and the rhyme schemes; however, in a few places, I have suggested some radical departures from the original text—not so much to change the intent of the original but to try and bring it more clearly into focus for the modern reader.
A “translation” of this sort not only involves a clarification of the original words (where needed) but also a translation of the Elizabethan mindset as well. For example, the controversy over usury during Elizabethan times carried a lot more vehemence and emotional power than it does today—and, the nexus of the play centers around this conflict. However, if the Elizabethan understanding of usury is not brought to bear for the modern reader, than the driving force behind much of the action is lost. In a modern reading of the play the central conflict appears to be between Antonio, a Christian, and Shylock, a Jew, when it is more immediately between Antonio, a righteous Christian man, and Shylock, an unethical money-lender (who is also Jewish). To convey the Elizabethan attitude toward usury (and Antonio's attitude in particular) I decided to add a few lines to the original. Thus, the "revised version" of the play opens with Antonio telling of his hatred of the institution of usury, rather than about his sadness (which is a theme found in the opening lines of the, though out of sync and irrelevant to the rest of the play). Several other emendations to the text (including a critical reply to Shylock’s famous speech about the likeness between Christians and Jews), and a new scene where Shylock reveals the reason why he asked for a “pound flesh” have also been added. All the emendations have a purpose: they are meant to clarify the action of the play and make the motivations of the characters more precise.
Sample Selections
Before downloading the whole play, you can look at a few selections:
>> See Sample Selections
1.1 Emended opening scene (with Antonio's view on the practice of usury)
1.2 Portia, in Belmont, describing her suitors
1.3 Shylock with Bassanio, in Venice
2.1 Morocco, in Belmont, before the caskets
2.1a Emended scene where Shylock is telling Tubal why he asked Antonio for a pound of flesh
Files available for download:
Merchant_of_venice_12.pdf
1. A complete version of the rectified play, with notes, commentary, and alternative renderings.
Additional_Notes.pdf
2. Additional notes, which offers extensive background material, commentary, and staging.
| merchant_of_venice_12.pdf |
| Additional_Notes.pdf |
Related Essays
The following papers are available:
1) Bassanio and the Lottery: Did Bassanio receive help with the Lottery?
>> The Lottery
2) An analysis of name similarity of the Three Sals --- Salarino, Salanio, and Salarino
>> The Three Sals
3) Also see: >> Bassanio's Soliloquy
1) Bassanio and the Lottery: Did Bassanio receive help with the Lottery?
>> The Lottery
2) An analysis of name similarity of the Three Sals --- Salarino, Salanio, and Salarino
>> The Three Sals
3) Also see: >> Bassanio's Soliloquy
Additional downloads:
1. A discussion of the legends, as cited by Lorenzo and Jessica, in their "night game"
2. A rectified version of 3.5 (which was deleted from the full version of the play)
3. Il Pecorone -- the primary source for the story of The Merchant of Venice
| Night Game.pdf |
| 3-5.pdf |
| Il_Pecorone.pdf |
Character Analysis
Cognitive Types
The theory of Cognitive Types (or Character Types) holds that every person's thinking process is shaped by a particular Cognitive Type (or pattern) and that this Cognitive Type is revealed in the way a person shapes his or her way of thinking. In terms of a play, the author's cognitive type (or thinking pattern) will be displayed by all the main characters, regardless of the character's personality or motivation. Thus, every main character of a play would display the same cognitive pattern—and this would be the cognitive pattern of the play's author.
Part One of this work explains the general principle of Cognitive Types, with a special emphasis on Type 3 and Type 9. Part Two of the essay explores the way that Type 3 is evidenced in the thinking pattern of the main characters—Portia, Antonio, and Shylock. Even though the main characters have dissimilar backgrounds, and are impelled by different forces, this analysis shows that they all display the same, Type-3 pattern of thinking. Thus, from the foregoing, it is assumed that the author of the play (and all the Shakespeare plays) was Type 3.
Although this essay addresses a particular facet of the Shakespeare Authorship Question, it's main interest for people studying The Merchant of Venice is its in-depth character and cognitive analysis of the play's three main characters.
To download this analysis click file below:
| Types.pdf |
