The Merchant of Venice; Der Kaufmann von Venedig: Bilingual edition
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About this ebook
Bilingual, English and German. Shakespeare comedy in English with line numbers and translated to German. According to Wikipedia: "The Merchant of Venice is a tragic comedy by William Shakespeare, believed to have been written between 1596 and 1598. Though classified as a comedy in the First Folio and sharing certain aspects with Shakespeare's other romantic comedies, the play is perhaps most remembered for its dramatic scenes, and is best known for Shylock and the famous 'Hath not a Jew eyes' speech. Also notable is Portia's speech about the 'quality of mercy'"
Zweisprachig, Englisch und Deutsch. Shakespeare-Komödie in Englisch mit Zeilennummern und ins Deutsche übersetzt. Laut Wikipedia: "The Merchant of Venice" ist eine tragische Komödie von William Shakespeare, die vermutlich zwischen 1596 und 1598 entstanden ist. Obwohl sie im First Folio als Komödie klassifiziert wurde und gewisse Aspekte mit Shakespeares anderen romantischen Komödien teilt, ist das Stück vielleicht Die meisten werden für ihre dramatischen Szenen in Erinnerung bleiben und sind am besten für Shylock und die berühmte 'Hath not a Jewy eyes' Rede bekannt. Bemerkenswert ist auch Portias Rede über die 'Qualität der Barmherzigkeit'. "
William Shakespeare
William Shakespeare was born in April 1564 in the town of Stratford-upon-Avon, on England’s Avon River. When he was eighteen, he married Anne Hathaway. The couple had three children—an older daughter Susanna and twins, Judith and Hamnet. Hamnet, Shakespeare’s only son, died in childhood. The bulk of Shakespeare’s working life was spent in the theater world of London, where he established himself professionally by the early 1590s. He enjoyed success not only as a playwright and poet, but also as an actor and shareholder in an acting company. Although some think that sometime between 1610 and 1613 Shakespeare retired from the theater and returned home to Stratford, where he died in 1616, others believe that he may have continued to work in London until close to his death.
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The Merchant of Venice; Der Kaufmann von Venedig - William Shakespeare
THE MERCHANT OF VENICE/ DER KAUFMANN VON VENEDIG, BILINGUAL EDITION (IN ENGLISH WITH LINE NUMBERS AND IN GERMAN)
published by Samizdat Express, Orange, CT, USA
established in 1974, offering over 14,000 books
Other Shakespeare plays in German translation:
Wie Es Euch Gefaellt (Schlegel)
Die Irrunngen (Wieland)
Maas fuer Maas (Wieland)
Der Kaufman von Venedig (Schlegel)
Ein Sommernachtstraum (Schlegel)
Ein St. Johannis Nachts-Traum (Wieland)
Johann (Wieland)
Richard II (Wieland)
Heinrich IV erste theil (Wieland)
Heinrich IV zweyte theil (Wieland)
Der Sturm (Wieland)
feedback welcome: info@samizdat.com
visit us at samizdat.com
THE MERCHANT OF VENICE
DER KAUFMANN VON VENEDIG VON WILLIAM SHAKESPEARE, ÜBERSETZT VON AUGUST WILHELM VON SCHLEGEL
_______________
THE MERCHANT OF VENICE BY WILLIAM SHAKESPEARE
Dramatis Personae
The Merchant Of Venice
Act I
Scene I. Venice. A street.
Scene II: Belmont. A room in PORTIA'S house.
Scene III Venice. A public place.
Act II
Scene I Belmont. A room in PORTIA'S house.
Scene II Venice. A street.
SCENE III The same. A room in SHYLOCK'S house.
SCENE IV The same. A street.
SCENE V The same. Before SHYLOCK'S house.
SCENE VI The same.
SCENE VII Belmont. A room in PORTIA'S house.
SCENE VIII Venice. A street.
SCENE IX Belmont. A room in PORTIA'S house.
Act III
SCENE I Venice. A street.
SCENE II Belmont. A room in PORTIA'S house.
SCENE III Venice. A street.
SCENE IV Belmont. A room in PORTIA'S house.
SCENE V The same. A garden.
Act IV
SCENE I Venice. A court of justice.
SCENE II The same. A street.
Act V
SCENE I Belmont. Avenue to PORTIA'S house.
Dramatis Personae
The Duke Of Venice. (Duke:)
Suitors To Portia
The Prince Of Morocco (Morocco:)
The Prince Of Arragon (Arragon:) |
Antonio, A Merchant Of Venice.
Bassanio, His Friend, Suitor Likewise To Portia.
Friends To Antonio And Bassanio
Salanio
Salarino
Gratiano
Salerio
Lorenzo, In Love With Jessica.
Shylock, A Rich Jew.
Tubal A Jew, His Friend.
Launcelot Gobbo, The Clown, Servant To Shylock. (Launcelot:)
Old Gobbo, Father To Launcelot. (Gobbo:)
Leonardo Servant To Bassanio.
Servants To Portia
Balthasar
Stephano
Portia, A Rich Heiress.
Nerissa, Her Waiting-Maid.
Jessica, Daughter To Shylock.
Magnificoes of Venice, Officers of the Court of Justice, Gaoler, Servants to Portia, and other Attendants. (Servant:), (Clerk:)
THE MERCHANT OF VENICE
Dramatis Personae
ACT I
SCENE I. Venice. A street.
SCENE II: Belmont. A room in PORTIA'S house.
SCENE III Venice. A public place.
ACT II
SCENE I Belmont. A room in PORTIA'S house.
SCENE II Venice. A street.
SCENE III The same. A room in SHYLOCK'S house.
SCENE IV The same. A street.
SCENE V The same. Before SHYLOCK'S house.
SCENE VI The same.
SCENE VII Belmont. A room in PORTIA'S house.
SCENE VIII Venice. A street.
SCENE IX Belmont. A room in PORTIA'S house.
ACT III
SCENE I Venice. A street.
SCENE II Belmont. A room in PORTIA'S house.
SCENE III Venice. A street.
SCENE IV Belmont. A room in PORTIA'S house.
SCENE V The same. A garden.
ACT IV
SCENE I Venice. A court of justice.
SCENE II The same. A street.
ACT V
SCENE I Belmont. Avenue to PORTIA'S house.
SCENE: Partly at Venice, and partly at Belmont, the seat of PORTIA, on the Continent.
ACT I
SCENE I. Venice. A street.
[Enter ANTONIO, SALARINO, and SALANIO]
(1) ANTONIO In sooth, I know not why I am so sad:
It wearies me; you say it wearies you;
But how I caught it, found it, or came by it,
What stuff 'tis made of, whereof it is born,
I am to learn;
And such a want-wit sadness makes of me,
That I have much ado to know myself.
SALARINO Your mind is tossing on the ocean;
There, where your argosies with portly sail,
(10) Like signiors and rich burghers on the flood,
Or, as it were, the pageants of the sea,
Do overpeer the petty traffickers,
That curtsy to them, do them reverence,
As they fly by them with their woven wings.
SALANIO Believe me, sir, had I such venture forth,
The better part of my affections would
Be with my hopes abroad. I should be still
Plucking the grass, to know where sits the wind,
Peering in maps for ports and piers and roads;
(20) And every object that might make me fear
Misfortune to my ventures, out of doubt
Would make me sad.
SALARINO My wind cooling my broth
Would blow me to an ague, when I thought
What harm a wind too great at sea might do.
I should not see the sandy hour-glass run,
But I should think of shallows and of flats,
And see my wealthy Andrew dock'd in sand,
Vailing her high-top lower than her ribs
To kiss her burial. Should I go to church
(30) And see the holy edifice of stone,
And not bethink me straight of dangerous rocks,
Which touching but my gentle vessel's side,
Would scatter all her spices on the stream,
Enrobe the roaring waters with my silks,
And, in a word, but even now worth this,
And now worth nothing? Shall I have the thought
To think on this, and shall I lack the thought
That such a thing bechanced would make me sad?
But tell not me; I know, Antonio
(40) Is sad to think upon his merchandise.
ANTONIO Believe me, no: I thank my fortune for it,
My ventures are not in one bottom trusted,
Nor to one place; nor is my whole estate
Upon the fortune of this present year:
Therefore my merchandise makes me not sad.
SALARINO Why, then you are in love.
ANTONIO Fie, fie!
SALARINO Not in love neither? Then let us say you are sad,
Because you are not merry: and 'twere as easy
For you to laugh and leap and say you are merry,
(50) Because you are not sad. Now, by two-headed Janus,
Nature hath framed strange fellows in her time:
Some that will evermore peep through their eyes
And laugh like parrots at a bag-piper,
And other of such vinegar aspect
That they'll not show their teeth in way of smile,
Though Nestor swear the jest be laughable.
[Enter BASSANIO, LORENZO, and GRATIANO]
SALANIO Here comes Bassanio, your most noble kinsman,
Gratiano and Lorenzo. Fare ye well:
We leave you now with better company.
(60) SALARINO I would have stay'd till I had made you merry,
If worthier friends had not prevented me.
ANTONIO Your worth is very dear in my regard.
I take it, your own business calls on you
And you embrace the occasion to depart.
SALARINO Good morrow, my good lords.
BASSANIO Good signiors both, when shall we laugh? say, when?
You grow exceeding strange: must it be so?
SALARINO We'll make our leisures to attend on yours.
[Exeunt Salarino and Salanio]
LORENZO My Lord Bassanio, since you have found Antonio,
(70) We two will leave you: but at dinner-time,
I pray you, have in mind where we must meet.
BASSANIO I will not fail you.
GRATIANO You look not well, Signior Antonio;
You have too much respect upon the world:
They lose it that do buy it with much care:
Believe me, you are marvellously changed.
ANTONIO I hold the world but as the world, Gratiano;
A stage where every man must play a part,
And mine a sad one.
GRATIANO Let me play the fool:
(80) With mirth and laughter let old wrinkles come,
And let my liver rather heat with wine
Than my heart cool with mortifying groans.
Why should a man, whose blood is warm within,
Sit like his grandsire cut in alabaster?
Sleep when he wakes and creep into the jaundice
By being peevish? I tell thee what, Antonio--
I love thee, and it is my love that speaks--
There are a sort of men whose visages
Do cream and mantle like a standing pond,
(90) And do a wilful stillness entertain,
With purpose to be dress'd in an opinion
Of wisdom, gravity, profound conceit,
As who should say 'I am Sir Oracle,
And when I ope my lips let no dog bark!'
O my Antonio, I do know of these
That therefore only are reputed wise
For saying nothing; when, I am very sure,
If they should speak, would almost damn those ears,
Which, hearing them, would call their brothers fools.
(100) I'll tell thee more of this another time:
But fish not, with this melancholy bait,
For this fool gudgeon, this opinion.
Come, good Lorenzo. Fare ye well awhile:
I'll end my exhortation after dinner.
LORENZO Well, we will leave you then till dinner-time:
I must be one of these same dumb wise men,
For Gratiano never lets me speak.
GRATIANO Well, keep me company but two years moe,
Thou shalt not know the sound of thine own tongue.
(110) ANTONIO Farewell: I'll grow a talker for this gear.
GRATIANO Thanks, i' faith, for silence is only commendable
In a neat's tongue dried and a maid not vendible.
[Exeunt GRATIANO and LORENZO]
ANTONIO Is that any thing now?
BASSANIO Gratiano speaks an infinite deal of nothing, more
than any man in all Venice. His reasons are as two
grains of wheat hid in two bushels of chaff: you
shall seek all day ere you find them, and when you
have them, they are not worth the search.
ANTONIO Well, tell me now what lady is the same
(120) To whom you swore a secret pilgrimage,
That you to-day promised to tell me of?
BASSANIO 'Tis not unknown to you, Antonio,
How much I have disabled mine estate,
By something showing a more swelling port
Than my faint means would grant continuance:
Nor do I now make moan to be abridged
From such a noble rate; but my chief care
Is to come fairly off from the great debts
Wherein my time something too prodigal
(130) Hath left me gaged. To you, Antonio,
I owe the most, in money and in love,
And from your love I have a warranty
To unburden all my plots and purposes
How to get clear of all the debts I owe.
ANTONIO I pray you, good Bassanio, let me know it;
And if it stand, as you yourself still do,
Within the eye of honour, be assured,
My purse, my person, my extremest means,
Lie all unlock'd to your occasions.
(140) BASSANIO In my school-days, when I had lost one shaft,
I shot his fellow of the self-same flight
The self-same way with more advised watch,
To find the other forth, and by adventuring both
I oft found both: I urge this childhood proof,
Because what follows is pure innocence.
I owe you much, and, like a wilful youth,
That which I owe is lost; but if you please
To shoot another arrow that self way
Which you did shoot the first, I do not doubt,
(150) As I will watch the aim, or to find both
Or bring your latter hazard back again
And thankfully rest debtor for the first.
ANTONIO You know me well, and herein spend but time
To wind about my love with circumstance;
And out of doubt you do me now more wrong
In making question of my uttermost
Than if you had made waste of all I have:
Then do but say to me what I should do
That in your knowledge may by me be done,
(160) And I am prest unto it: therefore, speak.
BASSANIO In Belmont is a lady richly left;
And she is fair, and, fairer than that word,
Of wondrous virtues: sometimes from her eyes
I did receive fair speechless messages:
Her name is Portia, nothing undervalued
To Cato's daughter, Brutus' Portia:
Nor is the wide world ignorant of her worth,
For the four winds blow in from every coast
Renowned suitors, and her sunny locks
(170) Hang on her temples like a golden fleece;
Which makes her seat of Belmont Colchos' strand,
And many Jasons come in quest of her.
O my Antonio, had I but the means
To hold a rival place with one of them,
I have a mind presages me such thrift,
That I should questionless be fortunate!
ANTONIO Thou know'st that all my fortunes are at sea;
Neither have I money nor commodity
To raise a present sum: therefore go forth;
(180) Try what my credit can in Venice do:
That shall be rack'd, even to the uttermost,
To furnish thee to Belmont, to fair Portia.
Go, presently inquire, and so will I,
Where money is, and I no question make
To have it of my trust or for my sake.
[Exeunt]
SCENE II: Belmont. A room in PORTIA'S house.
[Enter PORTIA and NERISSA]
(1) PORTIA By my troth, Nerissa, my little body is aweary of
this great world.
NERISSA You would be, sweet madam, if your miseries were in
the same abundance as your good fortunes are: and
yet, for aught I see, they are as sick that surfeit
with too much as they that starve with nothing. It
is no mean happiness therefore, to be seated in the
mean: superfluity comes sooner by white hairs, but
competency lives longer.
(10) PORTIA