The Play
Site by Jonathan Star
All Material copyright (c) Jonathan Star, 2009, 2022
The Merchant of Venice
A Contemporary English Version, with Notes and Commentary
by Jonathan Star
A Note on this "Translation"
In this version of The Merchant of Venice I have attempted to “translate” the work from the Early English of Shakespeare into contemporary Modern English while preserving the emotive and rhythmic power of the original. I have been careful to try and present the true meaning of the original lines as well as preserve the iambic pentameter. However, in a few places, I have offered 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 audience.
A “translation” of this sort not only involves a clarification of the original words but also a translation of the Elizabethan mindset. 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 view of usury is not brought to bear, from the onset of the play, then the driving force behind much of the action is lost. In a modern reading of the play the central conflict appears to be between a Christian (Antonio) and a Jew (Shylock); however, it is more accurately between Antonio, a righteous Christian man, and Shylock, an unethical money-lender (who is Jewish). To bring the modern reader "up to speed" on the Elizabethan attitude toward usury, and Antonio's attitude in particular, I suggest the addition of a few new lines at the opening of the play. Thus, the "revised version" of the play opens with Antonio telling of his hatred for usurers rather than him going on about his sadness (which is a theme that has no relevance to the rest of the play). Several other suggested additions are also made including a critical reply to Shylock’s famous speech about the likeness between Christians and Jews and a scene where Shylock reveals the reason why he asked for a “pound of flesh.” All the suggested additions have a purpose: to clarify the action of the play and make the motivations of the characters more precise.
In addition, every time I depart from the original text (in an attempt to clarify the meaning of the original) I include the original text in the notes section and also, when needed, an explanation of why I made the changes. In addition, alternative renderings, explanatory notes, and production staging is often included in the notes section.
>> See Emended Opening Scene (Regarding Antonio's view of Usury).
Files Available for Download:
1. FULL PLAY -- Merchant_of_Venice_15.pdf
A complete version of the rectified play, with notes, commentary, and alternative renderings.
All Material copyright (c) Jonathan Star, 2009, 2022
The Merchant of Venice
A Contemporary English Version, with Notes and Commentary
by Jonathan Star
A Note on this "Translation"
In this version of The Merchant of Venice I have attempted to “translate” the work from the Early English of Shakespeare into contemporary Modern English while preserving the emotive and rhythmic power of the original. I have been careful to try and present the true meaning of the original lines as well as preserve the iambic pentameter. However, in a few places, I have offered 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 audience.
A “translation” of this sort not only involves a clarification of the original words but also a translation of the Elizabethan mindset. 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 view of usury is not brought to bear, from the onset of the play, then the driving force behind much of the action is lost. In a modern reading of the play the central conflict appears to be between a Christian (Antonio) and a Jew (Shylock); however, it is more accurately between Antonio, a righteous Christian man, and Shylock, an unethical money-lender (who is Jewish). To bring the modern reader "up to speed" on the Elizabethan attitude toward usury, and Antonio's attitude in particular, I suggest the addition of a few new lines at the opening of the play. Thus, the "revised version" of the play opens with Antonio telling of his hatred for usurers rather than him going on about his sadness (which is a theme that has no relevance to the rest of the play). Several other suggested additions are also made including a critical reply to Shylock’s famous speech about the likeness between Christians and Jews and a scene where Shylock reveals the reason why he asked for a “pound of flesh.” All the suggested additions have a purpose: to clarify the action of the play and make the motivations of the characters more precise.
In addition, every time I depart from the original text (in an attempt to clarify the meaning of the original) I include the original text in the notes section and also, when needed, an explanation of why I made the changes. In addition, alternative renderings, explanatory notes, and production staging is often included in the notes section.
>> See Emended Opening Scene (Regarding Antonio's view of Usury).
Files Available for Download:
1. FULL PLAY -- Merchant_of_Venice_15.pdf
A complete version of the rectified play, with notes, commentary, and alternative renderings.
| merchant_of_venice_15d.pdf |
2. ADDITIONAL NOTES -- Additional_Notes.pdf
Additional notes, background material, commentary, and staging.
| Additional_Notes.pdf |
Related Essays and Videos
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 Salerio
>> The Three Sals
3) An Analysis of Bassanio's Soliloquy:
>> Bassanio's Soliloquy
Video Clips from a Production by Princeton Theological Seminary.
1. Launcelet's Opening Monologue - Conscience vs Fiend
2. Morocco in front of the caskets
3. Shylock's Monologue - Hath Not a Jew Eyes?
4. Portia in Court - Shylock Thwarted
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5. Portia in Court - The Quality of Mercy
6. Arragon in front of the caskets
7. Shylock - A Pound of Flesh
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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 is shaped by his particular Cognitive Type (or pattern). Regarding a play or a piece of writing, this theory holds that the author's Cognitive Type (or thinking pattern) would be found in all the main characters regardless of the character's personality or motivation. Thus, every main character would display the same cognitive pattern as that of the author.
Part One of this essay explains the general principle of Cognitive Types with a special emphasis on Type 3 and Type 9. Part Two explores the way that Type 3 is evidenced in the thinking pattern of the main characters of the play—Portia, Antonio, and Shylock. Even though the main characters have dissimilar backgrounds, and are impelled by different forces, they all display the same Type 3 pattern of thinking. Thus, accordingly, one must assume that the author of the play was Type 3. However, William Shakespeare of Stratford was a Type 9. Could someone other than William Shakspeare have written this play? (I know that such statements about Type 9 and Type 3 makes no sense to someone who does not understand what a Cognitive Type is but it will make perfect sense once a person reads the paper in earnest and gains a rudimentary understanding understanding of these principles.)
For a more complete description of the Cognitive Types see: Dreamwork: And the Path of the Higher Hypothesis
This essay may shed some light on the Shakespeare Authorship Question---a question or controversy based upon the opinion of many that William Shakspere of Stratford did not write the Shakespeare plays. Regardless of this controversy, or where a person may weigh in on it, the main interest of this essay for people studying The Merchant of Venice is its in-depth character analysis of the play's three main characters. Of particular interest to this study of Cognitive Types involves the radical shift that Portia makes in the Court Scene.
To download this essay click file below:
| Types.pdf |