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Act 3, Scene 5 — The same. A garden.
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The argument Launcelet teases Jessica that she is damned for being a Jew's daughter; Jessica deflects with wit. Lorenzo enters and joins a multi-round wordplay battle with Launcelet about table-settings and covering. When Launcelet finally leaves, Lorenzo asks Jessica's opinion of Portia. Jessica praises Portia in terms of near-religious extravagance. Lorenzo claims he is an equally good husband; Jessica says she'll decide that later. They go to dinner.
Enter Launcelet and Jessica.
LAUNCELET

Yes, truly, for look you, the sins of the father are to be laid upon

the children, therefore, I promise you, I fear you. I was always plain

with you, and so now I speak my agitation of the matter. Therefore be

of good cheer, for truly I think you are damn’d. There is but one hope

in it that can do you any good, and that is but a kind of bastard hope

neither.

Yes, truly, for look you, the sins of the father are to be laid upon the children, therefore, I promise you, I fear you. I was always plain with you, and so now I speak my agitation of the matter. Therefore be of good cheer, for truly I think you are damn’d. There is but one hope in it that can do you any good, and that is but a kind of bastard hope neither.

Yes, truly, for look you, the sins of the father are to be laid upon the children, therefore, I promise you, I fear you. I was always plain with you, and so now I speak my agitation of the matter. Therefore be of good cheer, for truly I think you are damn’d. There is but one hope in it that can do you any good, and that is but a kind of bastard hope neither.

Yes, truly, for look you, the sins of the father are to be laid upon the children, therefore, I promise you, I fear you I was always plain with you, and so now I speak my agitation of the matter Therefore be of good cheer, for truly I think you are damn’d There is but one hope in it that can do you any good, and that is but a kind of bastard hope neither

"the sins of the father are to be laid upon the children" Launcelet is citing Exodus 20:5, where God says he visits the iniquity of the fathers upon the children — a genuine biblical text, deployed here for comic theological torment. The joke is that he is making Jessica responsible for Shylock's faith.
Why it matters Launcelet's theological teasing is darker than it appears. Jessica has converted to Christianity to escape the judgment of her father's religion — and Launcelet is telling her, cheerfully, that the escape didn't work. The play uses him to voice what Christian doctrine would actually say: conversion doesn't erase lineage.
JESSICA

And what hope is that, I pray thee?

And what hope is that, I pray you?

And what hope is that, I pray you?

And what hope is that, I pray you

LAUNCELET

Marry, you may partly hope that your father got you not, that you are

not the Jew’s daughter.

Marry, you may partly hope that your father got you not, that you are not the Jew’s daughter.

Marry, you may partly hope that your father got you not, that you are not the Jew’s daughter.

Marry, you may partly hope that your father got you not, that you are not the Jew’s daughter

JESSICA

That were a kind of bastard hope indeed; so the sins of my mother

should be visited upon me.

That were a kind of bastard hope indeed; so the sins of my mother should be visited upon me.

That were a kind of bastard hope indeed; so the sins of my mother should be visited upon me.

That were a kind of bastard hope indeed; so the sins of my mother should be visited upon me

LAUNCELET

Truly then I fear you are damn’d both by father and mother; thus when I

shun Scylla your father, I fall into Charybdis your mother. Well, you

are gone both ways.

Truly then I fear you are damn’d both by father and mother; thus when I shun Scylla your father, I fall into Charybdis your mother. Well, you are gone both ways.

Truly then I fear you are damn’d both by father and mother; thus when I shun Scylla your father, I fall into Charybdis your mother. Well, you are gone both ways.

Truly then I fear you are damn’d both by father and mother; thus when I shun Scylla your father, I fall into Charybdis your mother Well, you are gone both ways

JESSICA

I shall be saved by my husband. He hath made me a Christian.

I shall be saved by my husband. He has made me a Christian.

I shall be saved by my husband. He has made me a Christian.

I shall be saved by my husband He has made me a Christian

↩ Callback to 2-3 Jessica said in her soliloquy in 2-3 that if Lorenzo kept his promise she'd 'become a Christian and thy loving wife.' Launcelet now teases her about the Christian salvation she believed in — the claim is in, but the comedy questions whether it protects her.
LAUNCELET

Truly the more to blame he, we were Christians enow before, e’en as

many as could well live one by another. This making of Christians will

raise the price of hogs; if we grow all to be pork-eaters, we shall not

shortly have a rasher on the coals for money.

Truly the more to blame he, we were Christians enow before, e’en as many as could well live one by another. This making of Christians will raise the price of hogs; if we grow all to be pork-eaters, we shall not shortly have a rasher on the coals for money.

Truly the more to blame he, we were Christians enow before, e’en as many as could well live one by another. This making of Christians will raise the price of hogs; if we grow all to be pork-eaters, we shall not shortly have a rasher on the coals for money.

Truly the more to blame he, we were Christians enow before, e’en as many as could well live one by another This making of Christians will raise the price of hogs; if we grow all to be pork-eaters, we shall not shortly have a rasher on the coals for money

Why it matters Launcelet's pork speech is the scene's deepest comedy: he objects to Jessica's conversion not on theological grounds but on economic ones — too many Christians will create a pork shortage. The joke exposes, sideways, the commercial materialism that underlies all the religious rhetoric in the play.
Enter Lorenzo.
JESSICA

I’ll tell my husband, Launcelet, what you say. Here he comes.

I’ll tell my husband, Launcelet, what you say. Here he comes.

I’ll tell my husband, Launcelet, what you say. Here he comes.

I’ll tell my husband, Launcelet, what you say Here he comes

LORENZO

I shall grow jealous of you shortly, Launcelet, if you thus get my wife

into corners!

I shall grow jealous of you shortly, Launcelet, if you thus get my wife into corners!

I shall grow jealous of you shortly, Launcelet, if you thus get my wife into corners!

I shall grow jealous of you shortly, Launcelet, if you thus get my wife into corners

JESSICA

Nay, you need not fear us, Lorenzo. Launcelet and I are out. He tells

me flatly there’s no mercy for me in heaven, because I am a Jew’s

daughter; and he says you are no good member of the commonwealth, for

in converting Jews to Christians you raise the price of pork.

no, you need not fear us, Lorenzo. Launcelet and I are out. He tells me flatly there’s no mercy for me in heaven, because I am a Jew’s daughter; and he says you are no good member of the commonwealth, for in converting Jews to Christians you raise the price of pork.

no, you need not fear us, Lorenzo. Launcelet and I are out. He tells me flatly there’s no mercy for me in heaven, because I am a Jew’s daughter; and he says you are no good member of the commonwealth, for in converting Jews to Christians you raise the price of pork.

no, you need not fear us, Lorenzo Launcelet and I are out He tells me flatly there’s no mercy for me in heaven, because I am a Jew’s daughter; and he says you are no good member of the commonwealth, for in converting Jews to Christians you raise the price of pork

LORENZO

I shall answer that better to the commonwealth than you can the getting

up of the negro’s belly! The Moor is with child by you, Launcelet.

I shall answer that better to the commonwealth than you can the getting up of the negro’s belly! The Moor is with child by you, Launcelet.

I shall answer that better to the commonwealth than you can the getting up of the negro’s belly! The Moor is with child by you, Launcelet.

I shall answer that better to the commonwealth than you can the getting up of the negro’s belly The Moor is with child by you, Launcelet

LAUNCELET

It is much that the Moor should be more than reason; but if she be less

than an honest woman, she is indeed more than I took her for.

It is much that the Moor should be more than reason; but if she be less than an honest woman, she is indeed more than I took her for.

It is much that the Moor should be more than reason; but if she be less than an honest woman, she is indeed more than I took her for.

It is much that the Moor should be more than reason; but if she be less than an honest woman, she is indeed more than I took her for

LORENZO

How every fool can play upon the word! I think the best grace of wit

will shortly turn into silence, and discourse grow commendable in none

only but parrots. Go in, sirrah; bid them prepare for dinner.

How every fool can play upon the word! I think the best grace of wit will shortly turn into silence, and discourse grow commendable in none only but parrots. Go in, sirrah; bid them prepare for dinner.

How every fool can play upon the word! I think the best grace of wit will shortly turn into silence, and discourse grow commendable in none only but parrots. Go in, sirrah; bid them prepare for dinner.

How every fool can play upon the word I think the best grace of wit will shortly turn into silence, and discourse grow commendable in none only but parrots Go in, sirrah; bid them prepare for dinner

LAUNCELET

That is done, sir, they have all stomachs.

That is done, sir, they have all stomachs.

That is done, sir, they have all stomachs.

That is done, sir, they have all stomachs

LORENZO

Goodly Lord, what a wit-snapper are you! Then bid them prepare dinner.

Goodly Lord, what a wit-snapper are you! Then bid them prepare dinner.

Goodly Lord, what a wit-snapper are you! Then bid them prepare dinner.

Goodly Lord, what a wit-snapper are you Then bid them prepare dinner

LAUNCELET

That is done too, sir, only “cover” is the word.

That is done too, sir, only “cover” is the word.

That is done too, sir, only “cover” is the word.

That is done too, sir, only “cover” is the word

LORENZO

Will you cover, then, sir?

Will you cover, then, sir?

Will you cover, then, sir?

Will you cover, then, sir

LAUNCELET

Not so, sir, neither. I know my duty.

Not so, sir, neither. I know my duty.

Not so, sir, neither. I know my duty.

Not so, sir, neither I know my duty

LORENZO

Yet more quarrelling with occasion! Wilt thou show the whole wealth of

thy wit in an instant? I pray thee understand a plain man in his plain

meaning: go to thy fellows, bid them cover the table, serve in the

meat, and we will come in to dinner.

Yet more quarrelling with occasion! will you show the whole wealth of your wit in an instant? I pray you understand a plain man in his plain meaning: go to your fellows, bid them cover the table, serve in the meat, and we will come in to dinner.

Yet more quarrelling with occasion! will you show the whole wealth of your wit in an instant? I pray you understand a plain man in his plain meaning: go to your fellows, bid them cover the table, serve in the meat, and we will come in to dinner.

Yet more quarrelling with occasion will you show the whole wealth of your wit in an instant I pray you understand a plain man in his plain meaning: go to your fellows, bid them cover the table, serve in the meat, and we will come in to dinner

LAUNCELET

For the table, sir, it shall be served in; for the meat, sir, it shall

be covered; for your coming in to dinner, sir, why, let it be as

humours and conceits shall govern.

For the table, sir, it shall be served in; for the meat, sir, it shall be covered; for your coming in to dinner, sir, why, let it be as humours and conceits shall govern.

For the table, sir, it shall be served in; for the meat, sir, it shall be covered; for your coming in to dinner, sir, why, let it be as humours and conceits shall govern.

For the table, sir, it shall be served in; for the meat, sir, it shall be covered; for your coming in to dinner, sir, why, let it be as humours and conceits shall govern

"For the table, sir, it shall be served in; for the meat, sir, it shall be covered" Launcelet's punchline deliberately applies each instruction to the wrong object: the table gets 'served,' the meat gets 'covered' — which is the reverse of what's required. It's his final act of mischief before exiting.
[_Exit._]
LORENZO ≋ verse

O dear discretion, how his words are suited!

The fool hath planted in his memory

An army of good words, and I do know

A many fools that stand in better place,

Garnish’d like him, that for a tricksy word

Defy the matter. How cheer’st thou, Jessica?

And now, good sweet, say thy opinion,

How dost thou like the Lord Bassanio’s wife?

O dear discretion, how his words are suited! The fool has planted in his memory An army of good words, and I do know A many fools that stand in better place, Garnish’d like him, that for a tricksy word Defy the matter. How cheer’st you, Jessica? And now, good sweet, say your opinion, How do you like the Lord Bassanio’s wife?

O dear discretion, how his words are suited! The fool has planted in his memory An army of good words, and I do know A many fools that stand in better place, Garnish’d like him, that for a tricksy word Defy the matter. How cheer’st you, Jessica? And now, good sweet, say your opinion, How do you like the Lord Bassanio’s wife?

O dear discretion, how his words are suited The fool has planted in his memory An army of good words, and I do know A many fools that stand in better place, Garnish’d like him, that for a tricksy word Defy the matter How cheer’st you, Jessica And now, good sweet, say your opinion, How do you like the Lord Bassanio’s wife

JESSICA ≋ verse

Past all expressing. It is very meet

The Lord Bassanio live an upright life,

For having such a blessing in his lady,

He finds the joys of heaven here on earth,

And if on earth he do not merit it,

In reason he should never come to heaven.

Why, if two gods should play some heavenly match,

And on the wager lay two earthly women,

And Portia one, there must be something else

Pawn’d with the other, for the poor rude world

Hath not her fellow.

Past all expressing. It is very meet The Lord Bassanio live an upright life, For having such a blessing in his lady, He finds the joys of heaven here on earth, And if on earth he do not merit it, In reason he should never come to heaven. Why, if two gods should play some heavenly match, And on the wager lay two earthly women, And Portia one, there must be something else Pawn’d with the other, for the poor rude world has not her fellow.

Past all expressing. It is very meet The Lord Bassanio live an upright life, For having such a blessing in his lady, He finds the joys of heaven here on earth, And if on earth he do not merit it, In reason he should never come to heaven. Why, if two gods should play some heavenly match, And on the wager lay two earthly women, And Portia one, there must be something else Pawn’d with the other, for the poor rude world has not her fellow.

Past all expressing It is very meet The Lord Bassanio live an upright life, For having such a blessing in his lady, He finds the joys of heaven here on earth, And if on earth he do not merit it, In reason he should never come to heaven Why, if two gods should play some heavenly match, And on the wager lay two earthly women, And Portia one, there must be something else Pawn’d with the other, for the poor rude world has not her fellow

Why it matters Jessica's praise of Portia is extraordinary in its hyperbole — and the hyperbole is the point. She doesn't say Portia is clever or kind. She says the world has no equal to her. This comes from a woman who has just lost her own world and found herself in Portia's house. The speech is part admiration, part negotiation with her new life.
🎭 Dramatic irony Jessica praises Portia extravagantly — not knowing that Portia is at this moment on her way to Venice in disguise to do exactly what her extraordinary qualities would predict. The praise is going to be confirmed, and Jessica has no idea how.
LORENZO ≋ verse

Even such a husband

Hast thou of me as she is for a wife.

Even such a husband Hast you of me as she is for a wife.

Even such a husband Hast you of me as she is for a wife.

Even such a husband Hast you of me as she is for a wife

JESSICA

Nay, but ask my opinion too of that.

no, but ask my opinion too of that.

no, but ask my opinion too of that.

no, but ask my opinion too of that

Why it matters Jessica's 'nay, but ask my opinion too of that' is the scene's subtlest line — a gentle comic deflation of Lorenzo's self-satisfaction. She doesn't say he's wrong. She doesn't agree. She says: ask me. The marriage is intact but the power dynamic is not settled.
LORENZO

I will anon. First let us go to dinner.

I will soon. First let us go to dinner.

I will soon. First let us go to dinner.

I will soon First let us go to dinner

JESSICA

Nay, let me praise you while I have a stomach.

no, let me praise you while I have a stomach.

no, let me praise you while I have a stomach.

no, let me praise you while I have a stomach

LORENZO ≋ verse

No pray thee, let it serve for table-talk.

Then howsome’er thou speak’st, ’mong other things

I shall digest it.

No pray you, let it serve for table-talk. Then howsome’er you speak’st, ’mong other things I shall digest it.

No pray you, let it serve for table-talk. Then howsome’er you speak’st, ’mong other things I shall digest it.

No pray you, let it serve for table-talk Then howsome’er you speak’st, ’mong other things I shall digest it

JESSICA

Well, I’ll set you forth.

Well, I’ll set you forth.

Well, I’ll set you forth.

Well, I’ll set you forth

[_Exeunt._]

The Reckoning

A comic interlude between the high-stakes action of 3-4 and the trial in Act 4, this scene does more tonal work than structural work. It relaxes the tension with Launcelet's extended wordplay games — and then quietly raises a question in the final exchange. Jessica's praise of Portia is extraordinary, genuinely worshipful. Lorenzo's response ('even such a husband hast thou of me') is a little boastful and a little insecure. Jessica's 'nay, but ask my opinion too of that' keeps the audience gently wondering: how is that marriage, actually?

If this happened today…

A house-sitter and an elopement refugee are killing time in someone else's mansion. The ex-employee clown is still around and starts winding her up about eternal damnation. Her husband shows up and gets into an increasingly absurd fight with the clown about whether 'cover the table' means put a lid on it or lay the tablecloth. The clown leaves. The husband turns to his new wife: 'So — what do you think of Portia?' She gives him a speech that basically compares Portia to a goddess. He nods and says: 'I'm kind of like that for you.' She gives him a look: 'Ask me that question another time.'

Continue to 4.1 →