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
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