'Merchant of Venice, The : A Legend of Italy' by Richard Harris Barham

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I believe there are few
But have heard of a Jew,
Named Shylock, of Venice, as arrant a 'screw'
In money transactions as ever you knew;
An exorbitant miser, who never yet lent
A ducat at less than three hundred per cent.,
Insomuch that the veriest spendthrift in Venice,
Who'd take no more care of his pounds than his pennies,
When press'd for a loan, at the very first sight
Of his terms, would back out, and take refuge in Flight.
It is not my purpose to pause and inquire
If he might not, in managing thus to retire,
Jump out of the frying-pan into the fire;
Suffice it, that folks would have nothing to do,
Who could possibly help it, with Shylock the Jew.

But, however discreetly one cuts and contrives,
We've been most of us taught in the course of our lives,
That 'Needs must when the Elderly Gentleman drives!'
In proof of this rule,
A thoughtless young fool,
Bassanio, a Lord of the Tomnoddy school,
Who, by showing at Operas, Balls, Plays, and Court,
A 'swelling' (Payne Collier would read 'swilling') 'port,'
And inviting his friends to dine, breakfast, and sup,
Had shrunk his 'weak means,' and was 'stump'd,' and 'hard up,'
Took occasion to send
To his very good friend
Antonio, a merchant whose wealth had no end,
And who'd often before had the kindness to lend
Him large sums, on his note, which he'd managed to spend.

'Antonio,' said he, 'Now listen to me;
I've just hit on a scheme which, I think you'll agree,
All matters consider'd, is no bad design,
And which, if it succeeds, will suit your book and mine.
'In the first place, you know all the money I've got,
Time and often, from you has been long gone to pot,
And in making those loans you have made a bad shot;
Now do as the boys do when, shooting at sparrows
And tom-tits, they chance to lose one of their arrows,
-- Shoot another the same way -- I'll watch well its track,
And, turtle to tripe, I'll bring both of them back!
So list to my plan,
And do what you can,
To attend to and second it, that's a good man!

'There's a Lady, young, handsome, beyond all compare, at
A place they call Belmont, whom, when I was there, at
The suppers and parties my friend Lord Mountferrat
Was giving last season, we all used to stare at,
Then, as to her wealth, her solicitor told mine,
Besides vast estates, a pearl fishery, and gold mine,
Her iron strong box
Seems bursting its locks,
It's stuffed so with shares in 'Grand Junctions,' and 'Docks,'
Not to speak of the money's she's got in the stocks,
French, Dutch, and Brazilian, Columbian, and Chilian,
In English Exchequer-bills full half a million,
Not 'kites,' manufactured to cheat and inveigle,
But the right sort of 'flimsy,' all signed by Monteagle.
Then I know not how much in Canal-shares and Railways
And more speculations I need not detail, ways
Of vesting which, if not so safe as some think'em,
Contribute a deal to improving one's income;
In short, she's a Mint!
-- Now I say, deuce is in't
If with all my experience, I can't take a hint,
And her 'eye's speechless messages,' plainer than print
At the time that I told you of, know from a squint,
In short, my dear Tony,
My trusty old crony,
Do stump up three thousand once more as a loan -- I
Am sure of my game -- though, of course there are brutes,
Of all sorts and sizes, preferring their suits
To her you may call the Italian Miss Coutts,
Yet Portia -- she's named from that daughter of Cato's--
Is not to be snapp'd up like little potatoes,
And I have not a doubt I shall rout every lout
Ere you'll whisper Jack Robinson -- cut them all out --
Surmount every barrier, Carry her, marry her!
-- Then hey! my old Tony, when once fairly noosed,
For her Three-and-a-half per cents -- New and Reduced!'

With a wink of his eye His friend made reply
In his jocular manner, sly, caustic, and dry.
'Still the same boy, Bassanio -- never say 'die'!
-- Well -- I hardly know how I shall do't, but I'll try.--
Don't suppose my affairs are at all in a hash,
But the fact is, at present I'm quite out of cash;
The bulk of my property, merged in rich cargoes, is
Tossing about, as you know, in my Argosies,
Tending, of course, my resources to cripple,-- I
've one bound to England,-- another to Tripoli--
Cyprus -- Masulipatam -- and Bombay;--
A sixth, by the way, I consigned t'other day
To Sir Gregor M'Gregor, Cacique of Poyais,
A country where silver's as common as clay.
Meantime, till they tack, And come, some of them, back,
What with Custom-house duties, and bills falling due,
My account with Jones Loyd and Co. looks rather blue;
While, as for the 'ready,' I'm like a Church-mouse,--
I really don't think there's five pounds in the house.
But, no matter for that,
Let me just get my hat,
And my new silk umbrella that stands on the mat,
And we'll go forth at once to the market -- we two,--
And try what my credit in Venice can do;
I stand well on 'Change, and, when all's said and done, I
Don't doubt I shall get it for love or for money.'

They were going to go,
When, lo! down below,
In the street, they heard somebody crying, 'Old Clo'!'
--'By the Pope, there's the man for our purpose!-- I knew
We should not have to search long. Salanio, run you,
-- Salarino,-- quick!-- haste! ere he get out of view,
And call in that scoundrel, old Shylock the Jew!'

With a pack,
Like a sack
Of old clothes at his back,
And three hats on his head, Shylock came in a crack,
Saying, 'Rest you fair, Signior Antonio!-- vat, pray,
Might your vorship be pleashed for to vant in ma vay!'

--'Why, Shylock, although, As you very well know,
I am what they call 'warm,'-- pay my way as I go,
And, as to myself, neither borrow nor lend,
I can break through a rule to oblige an old friend;
And that's the case now -- Lord Bassanio would raise
Some three thousand ducats -- well,-- knowing your ways,
And that nought's to be got from you, say what one will,
Unless you've a couple of names to the bill,
Why, for once, I'll put mine to it,
Yea, seal and sign to it --
Now, then, old Sinner, let's hear what you'll say
As to 'doing' a bill at three months from to-day?
Three thousand gold ducats, mind -- all in good bags
Of hard money -- no sealing-wax, slippers, or rags?'

'-- Vell, ma tear,' says the Jew, 'I'll see vat I can do!
But Mishter Antonio, hark you, 'tish funny
You say to me, 'Shylock, ma tear, ve'd have money!'
Ven you very vell knows, How you shpit on ma clothes,
And use naughty vords -- call me Dog -- and avouch
Dat I put too much int'resht py half in ma pouch,
And vhile I, like de resht of ma tribe, shrug and crouch,
You find fault mit ma pargains, and say I'm a Smouch.
-- Vell!--n o matters, ma tear,-- Von vord in your ear!
I'd be friends mit you bote -- and to make dat appear,
Vy, I'll find you de monies as soon as you vill,
Only von littel joke musht be put in de pill;
Ma tear, you musht say,
If on such and such day
Such sum or such sums, you shall fail to repay,
I shall cut vere I like, as de pargain is proke,
A fair pound of your flesh -- chest by vay of a joke.'

So novel a clause Caused Bassanio to pause;
But Antonio, like most of those sage 'Johnny Raws'
Who care not three straws
About Lawyers or Laws,
And think cheaply of 'Old Father Antic,' because
They have never experienced a gripe from his claws,
'Pooh pooh'd' the whole thing.--'Let the Smouch have his way,
Why, what care I, pray,
For his penalty?-- Nay,
It's a forfeit he'd never expect me to pay:
And, come what come may, I hardly need say
My ships will be back a full month ere the day.'
So, anxious to see his friend off on his journey,
And thinking the whole but a paltry concern, he
Affixed with all speed
His name to a deed,
Duly stamp'd and drawn up by a sharp Jew attorney.
Thus again furnish'd forth, Lord Bassanio, instead
Of squandering the cash, after giving one spread,
With fiddling and masques, at the Saracen's Head,
In the morning 'made play,' And without more delay,
Started off in the steam-boat for Belmont next day.
But scarcely had he
From the harbour got free,
And left the Lagunes for the broad open sea,
Ere the 'Change and Rialto both rung with the news
That he'd carried off more than mere cash from the Jew's.

Though Shylock was old,
And, if rolling in gold,
Was as ugly a dog as you' wish to behold,
For few in his tribe 'mongst their Levis and Moseses,
Sported so Jewish an eye, beard, and nose as his,
Still, whate'er the opinion of Horace and some be,
Your aquilæ generate sometimes Columbæ,
Like Jephthah, as Hamlet says, he'd 'one fair daughter,'
And every gallant, who caught sight of her, thought her,
A jewel -- a gem of the very first water;
A great many sought her,
Till one at last caught her,
And, upsetting all that the Rabbis had taught her,
To feelings so truly reciprocal brought her,
That the very same night Bassanio thought right
To give all his old friends that farewell 'invite,'
And while Shylock was gone there to feed out of spite,
On 'wings made by a tailor' the damsel took flight.

By these 'wings' I'd express
A grey duffle dress,
With brass badge and muffin cap, made, as by rule,
For an upper-class boy in the National School.
Jessy ransack'd the house, popp'd her breeks on, and when so
Disguised, bolted off with her beau -- one Lorenzo,
An 'Unthrift,' who lost not a moment in whisking
Her into the boat,
And was fairly afloat
Ere her Pa had got rid of the smell of the griskin.
Next day, while old Shylock was making a racket,
And threatening how well he'd dust every man's jacket
Who'd help'd her in getting aboard of the packet,
Bassanio at Belmont was capering and prancing,
And bowing, and scraping, and singing, and dancing,
Making eyes at Miss Portia, and doing his best
To perform the polite, and to cut out the rest;
And, if left to herself, he, no doubt, had succeeded,
For none of them waltz'd so genteelly as he did;
But an obstacle lay, Of some weight, in his way,
The defunct Mr. P. who was now turned to clay,
Had been an odd man, and, though all for the best he meant,
Left but a queer sort of 'Last will and testament,'--
Bequeathing her hand,
With her houses and land,
&c., from motives one don't understand,
As she rev'renced his memory, and valued his blessing,
To him who should turn out the best hand at guessing!

Like a good girl, she did
Just what she was bid,
In one of three caskets her picture she hid,
And clapp'd a conundrum a-top of each lid.

A couple of Princes, a black and a white one,
Tried first, but they both fail'd in choosing the right one.
Another from Naples, who shoe'd his own horses;
A French Lord, whose graces might vie with Count D'Orsay's;--
A young English Baron;-- a Scotch Peer his neighbour;--
A dull drunken Saxon, all moustache and sabre;
All follow'd, and all had their pains for their labour.
Bassanio came last -- happy man be his dole!
Put his conjuring cap on,-- considered the whole,--
The gold put aside as
Mere 'hard food for Midas,'
The silver bade trudge
As a 'pale common drudge;'
Then choosing the little lead box in the middle,
Came plump on the picture, and found out the riddle.

Now, you're not such a goose as to think, I dare say,
Gentle Reader, that all this was done in a day,
Any more than the dome Of St. Peter's at Rome
Was built in the same space of time; and, in fact,
Whilst Bassanio was doing
His billing and cooing,
Three months had gone by ere he reach'd the fifth act;
Meanwhile that unfortunate bill became due,
Which his Lordship had almost forgot, to the Jew,
And Antonio grew In a deuce of a stew,
For he could not cash up, spite of all he could do;
(The bitter old Israelite would not renew,)
What with contrary winds, storms, wrecks, and embargoes, his
Funds were all stopp'd, or gone down in his argosies,
None of the set having come into port,
And Shylock's attorney was moving the Court
For the forfeit supposed to be set down in sport.

The serious news
Of this step of the Jew's,
And his fix'd resolution all terms to refuse,
Gave the newly-made Bridegroom a fit of 'the Blues,'
Especially, too, as it came from the pen
Of his poor friend himself on the wedding-day,-- then,
When the Parson had scarce shut his book up, and when
The Clerk was yet uttering the final Amen.

'Dear Friend,' it continued, 'all's up with me -- I
Have nothing on earth now to do but to die!
And, as death clears all scores, you're no longer my debtor;
I should take it as kind
Could you come -- never mind --
If your love don't persaude you, why,-- don't let this letter!'

I hardly need say this was scarcely read o'er
Ere a post-chaise and four
Was brought round to the door
And Bassanio, though, doubtless, he thought it a bore,
Gave his Lady one kiss, and then started at score.
But scarce in his flight
Had he got out of sight
Ere Portia, addressing a groom, said, 'My lad, you a
Journey must take on the instant to Padua;
Find out there Bellario,a Doctor of Laws,
Who, like Follett, is never left out of a cause,
And give him this note,
Which I've hastily wrote,
Take the papers he'll give you -- then push for the ferry
Below, where I'll meet you, you'll do't in a wherry,
If you can't find a boat on the Brenta with sails to it
-- Stay, bring his gown too, and wig with three tails to it.'

Giovanni (that's Jack)
Brought out his hack,
Made a bow to his mistress, then jump'd on its back,
Put his hand to his hat, and was off in a crack.
The Signora soon follow'd herself, taking as her
Own escort Nerissa her maid, and Balthasar.


'The Court is prepared, the Lawyers are met,
The Judges all ranged, a terrible show!'
As Captain Macheath says,-- and when one's in debt,
The sight's as unpleasant a one as I know,
Yet still not so bad after all, I suppose,
As if, when one cannot discharge what one owes,
They should bid people cut off one's toes or one's nose;
Yet here, a worse fate,
Stands Antonio, of late
A Merchant, might vie e'en with Princes in state,
With his waistcoat unbutton'd, prepared for the knife,
Which, in taking a pound of flesh, must take his life;
-- On the other side Shylock, his bag on the floor,
And three shocking bad hats on his head, as before,
Imperturbable stands,
As he waits their commands
With his scales and his great snicker-snee in his hands:
-- Between them, equipt in a wig, gown and bands,
With a very smooth face, a young dandified Lawyer,
Whose air, ne'ertheless, speaks him quite a top-sawyer,
Though his hopes are but feeble,
Does his possible
To make the hard Hebrew to mercy incline,
And in lieu of his three thousand ducats take nine,
Which Bassanio, for reasons we well may divine,
Shows in so many bags all drawn up in a line.
But vain are all efforts to soften him -- still
He points to the bond He so often has conn'd,
And says in plain terms he'll be shot if he will.
So the dandified Lawyer, with talking grown hoarse,
Says, 'I can say no more -- let the law take its course.'

Just fancy the gleam of the eye of the Jew,
As he sharpen'd his knife on the sole of his shoe
From the toe to the heel, And grasping the steel,
With a business-like air was beginning to feel
Whereabouts he should cut, as a butcher would veal,
When the dandified Judge puts a spoke in his wheel.
'Stay, Shylock,' says he, Here's one thing -- you see
This bond of yours gives you here no jot of blood!
-- The words are 'A pound of flesh,'-- that's clear as mud --
Slice away, then, old fellow -- but mind!-- if you spill
One drop of his claret that's not in your bill,
I'll hang you, like Haman?-- By Jingo I will!'

When apprised of this flaw, You never yet saw
Such an awfully mark'd elongation of jaw
As in Shylock, who cried, 'Plesh ma heart! ish dat law?'--
Off went his three hats,
And he look'd as the cats
Do, whenever a mouse has escaped from their claw.
'-- Ish't the law?'-- why the thing won't admit of a query --
'No doubt of the fact,
Only look at the act;
Acto quinto, cap. tertio, Dogi Falieri --
Nay, if, rather than cut, you'd relinquish the debt,
The Law, Master Shy, has a hold on you yet.
See Foscari's 'Statutes at large'--'If a Stranger
A Citizen's life shall, with malice, endanger,
The whole of his property, little or great,
Shall go, on conviction, one half to the State,
And one to the person pursued by his hate;
And, not to create
Any farther debate,
The Doge, if he pleases, may cut off his pate.'
So down on your marrowbones, Jew, and ask mercy!
Defendant and Plaintiff are now wisy wersy.'

What need to declare
How pleased they all were
At so joyful an end to so sad an affair?
Or Bassanio's delight at the turn things had taken,
His friend having saved, to the letter, his bacon?--
How Shylock got shaved, and turn'd Christian, though late,
To save a life-int'rest in half his estate?
How the dandified Lawyer, who'd managed the thing,
Would not take any fee for his pains but a ring
Which Mrs. Bassanio had given to her spouse,
With injunctions to keep it on leaving the house?--
How when he, and the spark
Who appeared as his clerk,
Had thrown off their wigs, and their gowns, and their jetty coats,
There stood Nerissa and Portia in petticoats?--
How they pouted, and flouted, and acted the cruel,
Because Lord Bassanio had not kept his jewel?--
How they scolded and broke out,
Till having their joke out,
They kissed, and were friends, and, all blessing and blessed,
Drove home by the light
Of a moonshiny night,
Like the one in which Troilus, the brave Trojan knight,
Sat astride on a wall, and sigh'd after his Cressid?--

All this, if 'twere meet,
I'd go on to repeat,
But a story spun out so's by no means a treat,
So, I'll merely relate what, in spite of the pains
I have taken to rummage among his remains,
No edition of Shakspeare, I've met with, contains;
But, if the account which I've heard be the true one,
We shall have it, no doubt, before long, in a new one.

In an MS., then sold
For its full weight in gold,
And knock'd down to my friend, Lord Tomnoddy, I'm told
It's recorded that Jessy, coquettish and vain,
Gave her husband, Lorenzo, a good deal of pain;
Being mildly rebuked, she levanted again,
Ran away with a Scotchman, and, crossing the main,
Became known by the name of the 'Flower of Dumblane.'

That Antonio, whose piety caused, as we've seen,
Him to spit upon every old Jew's gaberdine,
And whose goodness to paint
All colours were faint,
Acquired the well-merited prefix of 'Saint,'
And the Doge, his admirer, of honour the fount,
Having given him a patent, and made him a Count,
He went over to England, got nat'ralis'd there,
And espous'd a rich heiress in Hanover Square.

That Shylock came with him; no longer a Jew,
But converted, I think may be possibly true,
But that Walpole, as these self-same papers aver,
By changing the y in his name into er,
Should allow him a fictitious surname to dish up,
And in Seventeen-twenty-eight make him a Bishop,
I cannot believe--but shall still think them two men
Till some Sage proves the fact 'with his usual acumen.'


MORAL.

From this tale of the Bard
It's uncommonly hard
If an editor can't draw a moral.--'Tis clear,
Then,-- In ev'ry young wife-seeking Bachelor's ear
A maxim, 'bove all other stories, this one drums,
'PITCH GREEK TO OLD HARRY, AND STICK TO CONUNDRUMS!!'

To new-married ladies this lesson it teaches,
'You're "no that far wrong" in assuming the breeches!'

Monied men upon 'Change, and rich Merchants it schools
To look well to assets -- nor play with edge tools!
Last of all, this remarkable History shows men,
What caution they need when they deal with old-clothesmen!
So bid John and Mary
To mind and be wary,
And never let one of them come down the are'!

Editor 1 Interpretation

The Merchant of Venice: A Legend of Italy

Introduction

Shakespeare's timeless play, The Merchant of Venice, has been a subject of literary criticism and interpretation since its inception. But what about the poem that inspired the play? Richard Harris Barham's The Merchant of Venice: A Legend of Italy is a piece of poetry that influenced Shakespeare's play. This literary work deserves more attention than it has gotten in recent times. This article provides a detailed literary criticism and interpretation of The Merchant of Venice: A Legend of Italy.

Background Information

Richard Harris Barham was an English clergyman, humorist, and poet. He lived from 1788 to 1845 and is best known for his humorous poems, which he published under the pen name Thomas Ingoldsby. The Merchant of Venice: A Legend of Italy was published in 1837 as part of Barham's The Ingoldsby Legends, a collection of humorous and satirical poems.

The Merchant of Venice: A Legend of Italy is a narrative poem that tells the story of a Jewish moneylender named Shylock, who seeks revenge against a Christian merchant named Antonio. The poem is divided into three parts, with each part containing several stanzas. The first part introduces the characters and sets the stage for the conflict between Shylock and Antonio. The second part describes the trial and the events leading up to it. The third part concludes the poem with Shylock's defeat and downfall.

Literary Analysis

The Merchant of Venice: A Legend of Italy is a work of poetry that uses various literary devices to tell its story. These devices include rhyme, meter, allusion, metaphor, and irony. Barham's use of these devices contributes to the overall effectiveness of the poem.

Rhyme and Meter

The Merchant of Venice: A Legend of Italy is written in rhymed couplets, with each couplet consisting of two lines that rhyme. The poem also follows a regular meter, with each line consisting of ten syllables in a pattern of unstressed and stressed syllables. This meter is known as iambic pentameter and is commonly used in English poetry. The use of rhyme and meter gives the poem a musical quality and makes it easier to read and remember.

Allusion

Barham uses allusion in The Merchant of Venice: A Legend of Italy by referencing various works of literature and history. For example, in the opening stanza, Barham alludes to the story of King Lear by using the phrase "blasted heath." This phrase is a reference to the setting of King Lear's famous soliloquy in which he curses the stormy heath.

Metaphor

Barham uses metaphor in The Merchant of Venice: A Legend of Italy to convey complex ideas in a concise and memorable way. For example, in the first stanza, Barham describes Shylock as a "venomous spider" who "weaves his web in the city's heart." This metaphor compares Shylock to a spider who traps his victims in his web, just as Shylock traps Antonio in his web of debt.

Irony

Barham uses irony in The Merchant of Venice: A Legend of Italy to create a sense of tension and ambiguity in the poem. For example, in the second part of the poem, Barham describes the trial scene in which Shylock demands his pound of flesh from Antonio. The irony here is that Shylock is a Jew seeking revenge on a Christian, yet he uses the law of the land to justify his actions. This creates a sense of moral ambiguity and forces readers to question their own beliefs about justice and revenge.

Themes

The Merchant of Venice: A Legend of Italy explores several themes, including greed, revenge, justice, and mercy. These themes are relevant to contemporary society and continue to resonate with readers today.

Greed

One of the main themes of The Merchant of Venice: A Legend of Italy is greed. Shylock is motivated by his desire for wealth and revenge, and he is willing to do whatever it takes to achieve his goals. Antonio, on the other hand, is willing to risk his own life to help a friend in need. This contrast highlights the destructive power of greed and the virtues of selflessness and altruism.

Revenge

Another theme of The Merchant of Venice: A Legend of Italy is revenge. Shylock seeks revenge against Antonio for his perceived mistreatment and discrimination. This desire for revenge ultimately leads to Shylock's downfall and serves as a cautionary tale about the dangers of vengeance.

Justice

The theme of justice is also explored in The Merchant of Venice: A Legend of Italy. The trial scene in which Shylock demands his pound of flesh raises questions about the nature of justice and the role of the law in society. This theme is particularly relevant in today's world, where issues of social justice and equality continue to be hotly debated.

Mercy

Finally, The Merchant of Venice: A Legend of Italy explores the theme of mercy. At the end of the poem, Shylock is stripped of his wealth, his status, and his pride. However, he is also shown mercy by the Christian characters, who allow him to live and practice his religion. This act of mercy highlights the power of forgiveness and the importance of compassion and empathy.

Conclusion

In conclusion, The Merchant of Venice: A Legend of Italy is a work of poetry that deserves more attention than it has gotten in recent times. Richard Harris Barham's use of literary devices such as rhyme, meter, allusion, metaphor, and irony contributes to the overall effectiveness of the poem. The poem explores several themes, including greed, revenge, justice, and mercy, which continue to resonate with readers today. Overall, The Merchant of Venice: A Legend of Italy is a timeless work of literature that deserves to be read and studied by all lovers of poetry and all those interested in exploring the complexities of human nature.

Editor 2 Analysis and Explanation

The Poetry Merchant of Venice: A Legend of Italy is a classic poem written by Richard Harris Barham. This poem is a masterpiece of literature that has stood the test of time and continues to captivate readers with its vivid imagery, rich language, and complex themes. In this article, we will explore the poem in detail and analyze its various aspects.

The poem is set in Venice, Italy, and tells the story of a young merchant named Antonio who borrows money from a Jewish moneylender named Shylock. Antonio needs the money to help his friend Bassanio woo the beautiful Portia. However, when Antonio's ships are lost at sea, he is unable to repay the loan, and Shylock demands a pound of his flesh as payment. The rest of the poem revolves around the trial that follows and the eventual resolution of the conflict.

One of the most striking aspects of the poem is its use of language. Barham's writing is rich and evocative, with vivid descriptions that transport the reader to the streets of Venice. For example, in the opening lines of the poem, Barham writes:

"In Venice, at the ancient day, There lived a merchant, rich and gay; His name was Antonio: and he Had friends, and ships, and merchandise, And all that men of wealth could prize."

These lines immediately set the scene and introduce the main character, Antonio. The use of words like "ancient," "rich," and "gay" create a sense of grandeur and opulence, while the mention of Antonio's ships and merchandise hints at his business acumen.

Another notable aspect of the poem is its exploration of complex themes. One of the most prominent themes is that of mercy versus justice. Shylock demands a pound of Antonio's flesh as payment for the loan, and the trial that follows centers around the question of whether or not this is a just punishment. Portia, who disguises herself as a lawyer, argues that mercy should be shown to Antonio, even though he has broken his contract with Shylock. She delivers a famous speech in which she says:

"The quality of mercy is not strained; It droppeth as the gentle rain from heaven Upon the place beneath: it is twice blest; It blesseth him that gives and him that takes."

This speech is a powerful reminder that justice must be tempered with mercy, and that sometimes the most just thing to do is to show compassion and forgiveness.

Another theme that runs throughout the poem is that of appearance versus reality. Portia disguises herself as a lawyer in order to argue Antonio's case, and her true identity is only revealed at the end of the trial. This theme is also present in the character of Shylock, who is initially portrayed as a villain but is later revealed to be a complex and sympathetic character. He has been mistreated by the Christian characters in the play, and his demand for a pound of flesh can be seen as a desperate attempt to assert his own power and dignity.

The Poetry Merchant of Venice: A Legend of Italy is also notable for its use of symbolism. One of the most striking examples of this is the casket test that Portia's suitors must undergo in order to win her hand in marriage. The suitors are presented with three caskets, one of gold, one of silver, and one of lead. The inscription on each casket gives a clue as to which one contains Portia's portrait, and the suitors must choose the correct one. The gold and silver caskets are both adorned with beautiful decorations, but they are ultimately empty. The lead casket, which is plain and unadorned, contains Portia's portrait. This symbolizes the idea that true beauty and value are often hidden beneath a plain exterior.

In conclusion, The Poetry Merchant of Venice: A Legend of Italy is a masterpiece of literature that continues to captivate readers with its rich language, complex themes, and powerful symbolism. Barham's writing is a testament to the enduring power of poetry, and his exploration of mercy, justice, appearance versus reality, and other themes is as relevant today as it was when the poem was first written. Whether you are a lover of poetry or simply a fan of great literature, this poem is a must-read.

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