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Jessica, who is now the wife of Lorenzo, and, in the absence of Portia, mistress of the house. His self-esteem seems to have grown in his new service, his vocabulary has increased, and he speaks with more authority, but with the same unfortunate propensity for punning. He is obviously favored by his "betters," and like many others of small mind takes advantage of that fact to speak with a freedom that is not entirely devoid of impudence. However, his humor atones for much, and his good-nature accomplishes the

rest.

The dialogue quoted (with some slight eliminations) below takes place in the garden of Portia's house (Act 3, Scene 5). It is apparently the continuation of a discussion of the old theme of Jessica's parentage, and her father's sins; Launcelot taking a literal view of the scriptural precept in her case.

Laun. 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 thou art

damned. There is but one hope in it that can do you any good.

Jess. And what hope is that, I pray thee?

Laun. Marry, you may partly hope that you are not the Jew's daughter.

Jess. So the sins of my mother should be visited

on me.

Laun. Truly then I fear you are damned both by father and mother; thus when I shun Scylla, your father, I fall into Charybdis, your mother; well, you are gone both ways.

Jess. I shall be saved by my husband; he hath made me a Christian.

Laun. 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 porkeaters, we shall not shortly have a rasher on the coals for money.

The entrance of Lorenzo puts an end to Launcelot's calamitous predictions, and that gentleman having little appreciation of the latter's verbal fooling, directs him. "Go in, sirrah: bid them prepare for dinner."

To which the irrepressible Launcelot replies: "That is done, sir; they have all stomachs."

With some impatience, Lorenzo exclaims:

"Goodly Lord, what a wit-snapper art thou! then bid them prepare dinner."

This does not discourage the boy, who responds: "That is done too, sir; only, cover is the word."

Lorenzo, with some irritation, seeks to bring this equivocation to a close, and now gives his directions with emphasis: "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."

The imperturbable self-esteem and good-nature of Launcelot is proof, however, against censure or sarcasm; and with unruffled gravity he replies with humorous iteration: "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 humors and conceits shall govern." And having thus delivered himself, Launcelot makes a dignified exit from the scene.

Lorenzo's apostrophe to Launcelot's discourse is an admirable summary of the shallow mind, that mistakes the mere jugglery of words for wit.

It was a favorite method of Shakespeare's to furnish humor in his "simples" and serving men, and proved an amusing diversion in their mouths: but, in others, it is the unconscious tribute that ignorance and incapacity pays to knowledge and distinction.

Lor. 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.

Launcelot makes one more brief appearance, to announce the early return of Bassanio to Belmont, and as a harbinger of glad tidings we leave him in the service of a noble master and a gracious mistress.

The business of the Shakespearean clowns is traditional. It has been handed down by comedians from generation to generation. It was familiar to every stage manager of experience, in the days of the resident stock company; and any departure from the conventional business of these

[graphic]

Charles Charters as "Launcelot Gobbo" in "The Merchant

of Venice"

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