There I have another bad match: a bankrout, a prodigal, who dare scarce show his head on the Rialto;-a beggar, that was used to come so smug upon the mart;-let him look to his bond; he was wont to call me usurer;-let him look to his bond: he was wont to lend money for a Christian courtesy:-let him look to his bond.

-Shylock

The Merchant of Venice                Act III, scene i, line 45

Shylock is talking about Antonio here. He has met Sal one and two on the street, and first they are talking about Shylock’s daughter, Jessica, and then Salarino asks him if he’s had any news of Antonio’s ships at sea. Today’s Totally Random Line(s) is Shylock’s reply to that, talking about Antonio.

The Rialto is kind of like the main square of Venice where everyone comes to conduct business. When Shylock talks of Antonio’s bond, he’s talking about the contract that he signed when he borrowed the three thousand ducats; the contract that gives Shylock a pound of flesh if Antonio defaults. He seems to be pretty focused on that bond, eh?

 

How like a younker or a prodigal

The scarfed bark puts from her native bay,

Hugg’d and embraced by the strumpet wind!

How like a prodigal does she return,

With over-weather’d ribs, and ragged sails,

Lean, rent, and beggar’d by the strumpet wind!

-Gratiano

The Merchant of Venice                Act II, scene v, line 71

Gratiano and Salarino are waiting for Lorenzo outside Shylock’s house. They begin by talking about how he’s late, and that he shouldn’t be because lovers ever run before the clock. They are meeting at Shylock’s house because Lorenzo is picking up Jessica.

Gratiano and Salarino get into a discussion about how new lovers are eager to be with each other. This then leads into talk about different scenarios where people or things are eager when going into any new endeavor, and something less than eager on the other end of it. Hence, in Today’s Totally Random Line a well trimmed sailboat, a scarfed bark, leaves the bay embraced by the strumpet wind. She returns after being at sea lean, rent and beggar’d by the strumpet wind: eager at the start, something less than eager at the return.   

I suppose we can apply this line of thinking to just about anything in life.

And here's a perfect example of just such a scenario. This is a graph of my weight since I started a new eating plan in early May. You can see that I dropped about ten pounds in the first weeks. However, since late June/early July I haven't gone any further; just up and down since then. 

What happened to the scarfed bark embraced by the strumpet wind?

 

You may do so;-but let it be so hasted, that supper be ready at the furthest by five of the clock. See these letters deliver’d; put the liveries to making; and desire Gratiano to come anon to my lodging.      [Exit a SERVANT]

-Bassiano

The Merchant of Venice                Act II, scene ii, line 113

 

This is the scene where Launcelot Gobo is talking to himself and then to his father. The line previous to Today’s Totally Random Line is just that, Launcelot Gobo talking to old Gobo. Then, suddenly, Bassanio enters with Leonardo and a follower or two. Apparently one of the followers is a servant that Bassanio is in the middle of a conversation with as he enters the scene, and the lines above are the first spoken by Bassanio as he enters. I don’t know about you, but I’m a little curious as to what the servant asked permission to do. It must have been something since Bassanio enters the scene saying, ‘yes, you can do that, but make it quick so that you can take care of all my stuff.’ So what did the servant want to do? We’re never going to know, are we?

This reminds me of when I’m at a stoplight and I look over at a person standing and waiting for the bus. I look at them and realize that they have their own little world that they live in, just as I have mine, and that I will never know anything about that world. Are they thinking about the war in Ukraine, or about their Aunt Ethel who’s in the hospital. Or maybe they’re thinking about the underpants they’re wearing that are riding up on them. Whatever it is, it’s a continuum of a thousand thoughts that make up their world. And there are billions of these little worlds out there. So many of them I pass within a few feet of every day and never, ever give it a thought. But sometimes I do.

Will seems to be reminding us of these worlds right here. He’s going to give us this very little reminder of something very big, and then he’ll just move on. The servant exits and there’s never any mention further in the play of what he wanted to do. But even though we’ll never know what it was, and even though it really has nothing to do with any of the people or outcomes of the play, it must have been something.

How about this fellow entering the building just now. What's on his mind? What's his world all about? Aren't you just a little bit curious? I am. 

 

For three months, - well.

-Shylock

The Merchant of Venice                Act I, scene iii, line 3

 

Here is our first look at Shylock, at the beginning of scene three. His first words, and the first words of the scene are, Three thousand ducats, - well. Bassanio says, Ay, sir, for three months. Shylock repeats him again with today’s Random Line (even though we didn’t hear Bassanio say three thousand ducats we can be pretty sure he did), then Bassanio says Antonio will be bound for it, and Shylock repeats him a third time. So Shylock’s first three lines in the play are parroting back what Bassanio said to him.

Isn't that interesting. Shylock, who is supposed to be the lender is, at the very outset, the borrower: borrowing his lines from Bassanio. Is Will giving us a cue right up front to suggest that Shylock may not be what we are going to assume him to be? 

He be, or not he be? You tell me.

Today's post is much too thought provoking for a picture. 

Just concentrate on the words.

 

It should seem, then, that Dobbin’s tail grows backward; I am sure he had more hair of his tail than I have of my face when I last saw him.

-Launcelot Gobo

The Merchant of Venice                Act II, scene ii, line 142

 

This is an odd little scene. It begins with Launcelot deciding whether or not to leave the service of Shylock. It ends with him making the decision to leave and entering into the service of Bassanio. In between, Launcelot’s father shows up and, being half blind, doesn’t realize initially that he’s talking to his son. But he finally realizes it and remarks that his son has more hair on his chin than his horse Dobbin has on its tail. I’m not 100% sure what Launcelot means with his response in Today’s Totally Random Line. I guess he’s just remarking on the shortness of his own beard.

I’m also not exactly sure what the old man Gobo scene adds, other than the opportunity for a little bit of comic interlude, but I guess that’s important. This is a comedy, after all. Let’s not forget that.

Talk about long tails, now that's impressive!

 

Besides, the lottery of my destiny

Bars me the right of voluntary choosing:

-Portia

The Merchant of Venice                Act II, scene i, line 15

 

This is another piece of this play that bugs me. Portia’s father died, and apparently he had quite the estate and his daughter appears to be his sole survivor. He’s left instructions that whatever suitor can come and pick the correct of three caskets (small boxes) they will win the hand of his daughter. His daughter has no say in the matter. This is what Portia is making reference to in today’s Totally Random Line. What the heck kind of nonsense is this?

Perhaps the old man left someone in charge to enforce this deal, but if he did, I haven’t seen mention of him. It looks like Portia is just going along with it. Now I can see honoring one’s father’s wishes, but this seems a bit much.

And this gamble is the premise that Bassanio borrowed the three thousand ducats on; the premise for which Antonio’s life is on the line. In a sense, the whole play revolves around this silly casket choice. Well that’s just crazy.

Is this like Portia's caskets? Actually, hers were metal...

...and I don't think any of hers had a chess set inside. So, no, I don't think this is like any of Portia's caskets.

 

                              It is almost morning,

And yet I am sure you are not satisfied

Of these events at full. Let us go in;

And charge us there upon inter’gatories,

And we will answer all things faithfully.

 

-Portia

The Merchant of Venice                Act V, scene i, line 297

 

This is the second to last lines of the play. Gratiano is given the honor of following with the last eight lines of the play.

What’s that you say? You want those lines too? I don’t blame you.

         Let it be so: the first inter’gatory

        That Nerissa may be sworn on is,

        Whether till the next night she had rather stay,

        Or go to bed now, being two hours to day:

        But were the day come, I should wish it dark,

That I were couching with the doctor’s clerk.

Well, while I live I’ll fear no other thing,

So sore as keeping safe Nerissa’s ring.

End act, scene, play. Finito.

It’s supposed to be a light hearted play, a comedy, and this ending goes with that. No one dies, Antonio is saved in the end, and the guys get their girls. Sure, one old miserly Jew is completely ruined, but we’re not going to let that spoil the mood, are we?

Are we?

I think I’ve mentioned before that the only time I’ve seen this play performed live, the final person on stage was Shylock. Gratiano still got the final lines, but after he spoke the stage lights faded and then a spotlight shown on Shylock, sitting in the dark. I remember his face as he looked out at the audience. He wasn’t mad or ruined; it seemed more to be a look that said, ‘Are you happy now? Are you okay feeling good about the play even though I got completely destroyed?’ It was very thought provoking and, in my opinion, a very good way to end the play, maintaining some respect for modern sensibilities. I’m sure there are those who would disagree; but aren’t there always.

'Holy crow, what does that picture got to do with anything?' I can hear you say. Well, a little maybe.

Here's me and my oldest nephew Matt. Good guy, that Matt. And Matt's brother Michael did the lighting work for the live production of Merchant that I was just talking about. In fact, I guess it was Michael who came up with the spotlight on Shylock in the dark? So I guess your next question is 'Why not a pic of Michael?' Another good question. The answer is that yesterday was Matt's birthday. 

Happy one-day-late birthday, Matt!