Shylock.  What judgment shall I dread, doing no wrong?  You have among you many a purchas’d slave, Which, like your asses, and your dogs, and mules, You use in abject and in slavish part, Because you bought them:—­shall I say to you, Let them be free, marry them to your heirs?  Why sweat they under burdens? let their beds Be made as soft as yours, and let their palates Be season’d with such viands? you will answer, The slaves are ours:—­so do I answer you:  The pound of flesh, which I demand of him, Is dearly bought, is mine, and I will have it; If you deny me, fie upon your law!  There is no force in the decrees of Venice:  I stand for judgment:  answer; shall I have it?

The keenness of his revenge awakes all his faculties; and he beats back all opposition to his purpose, whether grave or gay, whether of wit or argument, with an equal degree of eamestness and self-possession.  His character is displayed as distinctly in other less prominent parts of the play, and we may collect from a few sentences the history of his life—­his descent and origin, his thrift and domestic economy, his affection for his daughter, whom he loves next to his wealth, his courtship and his first present to Leah, his wife!  ‘I would not have parted with it’ (the ring which he first gave her) ‘for a wilderness of monkeys!’ What a fine Hebraism is implied in this expression!

Portia is not a very great favourite with us, neither are we in love with her maid, Nerissa.  Portia has a certain degree of affectation and pedantry about her, which is very unusual in Shakespeare’s women, but which perhaps was a proper qualification for the office of a ‘civil doctor’, which she undertakes and executes so successfully.  The speech about mercy is very well; but there are a thousand finer ones in Shakespeare.  We do not admire the scene of the caskets; and object entirely to the Black Prince, Morocchius.  We should like Jessica better if she had not deceived and robbed her father, and Lorenzo, if he had not married a Jewess, though he thinks he has a right to wrong a Jew.  The dialogue between this newly married couple by moonlight, beginning ‘On such a night’, &c., is a collection of classical elegancies.  Launcelot, the Jew’s man, is an honest fellow.  The dilemma in which he describes himself placed between his ‘conscience and the fiend’, the one of which advises him to run away from his master’s service and the other to stay in it, is exquisitely humorous.

Gratiano is a very admirable subordinate character, He is the jester of the piece:  yet one speech of his, in his own defence, contains a whole volume of wisdom,

Anthonio.  I hold the world but as the world, Gratiano, A stage, where every one must play his part; And mine a sad one.