to save
his friend's life at the expense, if need be, of his own.

Thereupon his virgin wife forthwith gets instructions from the most
learned lawyer in those parts, and, habiting herself as a doctor of
laws, repairs to the trial. To divert the Jew from his purpose, she
taxes her wisdom and persuasion to the utmost, but in vain: scorning
the spirit of Justice, and deaf to the voice of Mercy, both of which
speak with heavenly eloquence from Portia's lips; rejecting thrice the
amount of the bond, and standing immoveable on the letter of the law;
he pushes his revenge to the very point of making the fatal incision,
when she turns the letter of the law against him, strips him of
penalty, principal, and all, and subjects even his life to the mercy
of the Duke. As the condition of his life, he is required to sign a
deed securing all his wealth to his daughter who, loaded with his
ducats and jewels, has lately eloped with another of Antonio's
friends, and is staying at Portia's mansion during her absence. The
play winds up with the hastening of all the parties, except the Jew,
to Portia's home. When all have met, Portia announces to Antonio the
safe return of his ships supposed to be lost, and surprises the
fugitive lovers with the news of their good fortune.

* * * * *

In respect of characterization this play is exceedingly rich, and this
too both in quantity and quality. The persons naturally fall into
three several groups, with each its several plot and action; yet the
three are skilfully complotted, each standing out clear and distinct
in its place, yet so drawing in with the others, that every thing
helps on every thing else; there being neither any confusion nor any
appearance of care to avoid it. Of these three groups, Antonio,
Shylock, and Portia are respectively the centres; while the part of
Lorenzo and Jessica, though strictly an episode, seems nevertheless to
grow forth as an element of the original germ; a sort of inherent
superfluity, and as such essential to the well-being of the piece. But
perhaps it may be better described as a fine romantic undertone
accompaniment to the other parts; itself in perfect harmony with
them, and therefore perfecting their harmony with each other.

In the first entry at the Stationers', the play is described as "_The
Merchant of Venice_, or otherwise called _The Jew of Venice_." This
would seem to infer that the author was then in some doubt whet