The Merchant of Venice Famous Quotes

All that glisters is not gold; Often have you heard that told.

Prince of Morocco reading the inscription inside the gold casket in Act 2, Scene 7, which he has chosen over lead and silver — the riddle punishes him for trusting appearances, which is exactly what the inscription warns against.

The quality of mercy is not strain'd, It droppeth as the gentle rain from heaven Upon the place beneath.

Portia (disguised as a lawyer) to Shylock in Act 4, Scene 1, making the case for mercy before the court proceedings begin — the speech is beautiful and does not persuade him, which is also part of the play's design.

If you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die?

Shylock to Salerio and Solanio in Act 3, Scene 1, after learning Jessica has fled with a Christian and taken his money — his argument for shared humanity is being made in defence of revenge, not tolerance.

I am a Jew. Hath not a Jew eyes? hath not a Jew hands, organs, dimensions, senses, affections, passions?

Shylock in Act 3, Scene 1, continuing his argument for equal humanity — the speech asks for recognition of Jewishness as fully human, then slides into a justification for vengeance that complicates the sympathy it creates.

The devil can cite Scripture for his purpose.

Antonio after Shylock quotes Genesis in Act 1, Scene 3 to justify his practice of lending at interest — Antonio's mistrust of Shylock is total, and the play leaves it ambiguous whether he is right.

Still have I borne it with a patient shrug, For sufferance is the badge of all our tribe.

Shylock to Bassanio in Act 1, Scene 3, reminding Antonio of years of public insults — the patience he describes is tactical rather than resigned, which becomes clear as the play continues.

The pound of flesh, which I demand of him, Is dearly bought; 'tis mine and I will have it.

Shylock refusing all offers of money in Act 4, Scene 1, insisting on the literal terms of his bond — at this point the pound of flesh is no longer about money, and everyone in the courtroom knows it.

You have among you many a purchased slave, Which, like your asses and your dogs and mules, You use in abject and in slavish parts.

Shylock's counterargument in Act 4, Scene 1 when the Duke appeals to mercy — he points out that the Venetians own slaves, and asks why his contract should be treated differently from their property rights.

How far that little candle throws his beams! So shines a good deed in a naughty world.

Portia returning home to Belmont in Act 5, Scene 1, seeing a candle burning in her hall — the image is simple and the sentiment genuine, a moment of clean relief after the dark proceedings of Act 4.

I am never merry when I hear sweet music.

Jessica in Act 5, Scene 1, under the night sky at Belmont with Lorenzo — she has escaped her father's house, and the line sits strangely with the comedy's happy ending.

In such a night as this, When the sweet wind did gently kiss the trees And they did make no noise.

Lorenzo opening the moonlit duet with Jessica in Act 5, Scene 1, each invoking legendary night-time lovers — Troilus, Cressida, Thisbe, Dido, Medea — before pointing to themselves as the newest addition to the list.

Tell me where is fancy bred, Or in the heart, or in the head? How begot, how nourished?

The song played while Bassanio chooses his casket in Act 3, Scene 2 — the rhymes on 'bred', 'head', and 'nourished' (with 'lead') may be quietly steering him toward the right answer.

I never knew so young a body with so old a head.

The Duke reading Bellario's letter in Act 4, Scene 1, praising the young lawyer he is sending in his place — the young lawyer is, of course, Portia in disguise.

If we are like you in the rest, we will resemble you in that.

Shylock closing his argument in Act 3, Scene 1 about the logic of revenge — if a Jew learns villainy from Christians, he reasons, it will outdo the teacher. The logic is uncomfortable precisely because it cannot be refuted.

My daughter! O my ducats! O my daughter! Fled with a Christian! O my Christian ducats!

Salarino in Act 2, Scene 8 performing Shylock's street cry for Solanio's amusement — whether Shylock actually said this in these words is impossible to know, and Salarino is not a reliable narrator.