Page 106 - William_Shakespeare_-_The_Merchant_of_Venice_191

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[NOTE: The text (and meter) after this point is uncorrected and in rough draft]

—Bassanio [to the gold casket] 65 66
67
So may the outward shows be least themselves. / Those who show most without are least within.
68
The world is e’er deceived° by ornament.° / ever duped // grand dislpay / outer show
In law, a plea that’s tainted and corrupt
But, being seasoned with a gracious voice,
Obscures the show° of evil. In religion, / sum / heart
What damnèd° act° does not become a blessing, / damning {error}
When some dry scholar° approve it with text,° {sober brow} // scripture
Hiding° gross error° with fair ornament? / Gilding {Hiding the grossness}
There is no vice too simple° to° assume° 69 / single // not able to
Some mark of virtue on its outward parts.
How many cowards, whose hearts would crumble° / are as false / are as flimsy
Like walls° of sand, do wear upon their chin {stayers} / stairs
The beards of Hercules and frowning° Mars, / fearless
Who, inward searched, have livers white as milk? / searched within
70
And they assume but valour’s outer show° / the outer shows of valor

65. The soliloquy found in the original is somewhat amiss as it does not resemble the speech of a true romantic hero
nor does it fulfill the comic heroism called for by the scene. Misaligned with the speeches of Morocco and Arragon,
it is filled with discordant images, and does not reflect love, pure-heartedness, or innocence. There is not one
mention of Portia or her attributes.
In a prior draft, this passage was replaced with words and images more fitting of a romantic hero; for even
though Bassanio does not fully embody the virtues of a romantic hero (and often acts quite the opposite) he has the
potential to become such a hero (if not permanently, at least for this one moment). He could be made to rise to the
occasion. In a later draft, the original was preserved, yet emended with some final words which might reflect the true
heart a hero. Bassanio’s speech, which cascades with images about scandal, cowardice, hypocrisy,
criticalness—and vacant of any hint of love—may reflect a subconscious sense of his own duplicity. His speech in
front of the caskets is somewhat out of step with the other speeches delivered by Bassanio in the scene—especially
the one coming after he opens the casket and sees Portia’s picture [115-130]. Thus all his speeches, except for this
one, bear the imprint of a romantic hero; during this treasured first encounter between Bassanio and Portia (which
takes place earlier in the scene), the audience happily suspends all judgement with respect to Bassanio’s wastefulness
and duplicity and enjoys a moment of sublime love between lover and his beloved, between the romantic hero and
his princess. [For a version of this speech, consistent with the heart-set of a romantic hero, see Additional Notes,
3.2.73]
66. Orson Wells suggested that Bassanio could have played the parts of both Morocco and Arragon; and after two
wrong choices (the gold and silver caskets), he would then become sure of the contents of the lead casket. Such a
staging, of course, would change the entire nature of Bassanio’s character and put him squarely in the camp of a
cheat and an enterprising money-getter.
67. / Those who are least, display themselves the most / So are the outward shows e’er least themselves / It is the
outward shows be least themselves / So they are least who glisten° themselves most;
68. {The world is still deceived with ornament}
still: always, ever; has always been
ornament: lavish outer display: / appearance / its own beauty / empty dazzle
69. {so simple but assumes} > Too singular and not able to assume (be interpreted as) some mark of virtue
70. {And these assume but valour’s excrement} / And these but display the shows of valor / These cowards but
assume valour’s plumage
valour’s excrement: excrement refers to an outgrowth of hair (as hair was seen as a waste product, something
excreted by the body). This likely refers to outgrowth of hair on the face (i.e., beards) usually associated with men of
valour, mentioned in line 85. It could also refer to the long hair of heros, but this is not supported in the given