Original: The quality of mercy is not strain’d,
Modern: True mercy cannot be forced or demanded,

Original: It droppeth as the gentle rain from heaven
Modern: It falls naturally like soft rain from the sky

Original: Upon the place beneath: it is twice blest;
Modern: On the earth below: it brings double blessings;

Original: It blesseth him that gives and him that takes:
Modern: It blesses both the person who shows mercy and the one who receives it:

Original: ‘Tis mightiest in the mightiest: it becomes
Modern: It’s most powerful when shown by powerful people: it suits

Original: The throned monarch better than his crown;
Modern: A king on his throne better than his crown does;

Original: His sceptre shows the force of temporal power,
Modern: His royal staff represents earthly power,

Original: The attribute to awe and majesty,
Modern: The symbol that creates fear and respect,

Original: Wherein doth sit the dread and fear of kings;
Modern: Which makes people afraid of and respect kings;

Original: But mercy is above this sceptred sway;
Modern: But mercy is greater than this royal authority;

Original: It is enthroned in the hearts of kings,
Modern: It sits like a ruler in the hearts of kings,

Original: It is an attribute to God himself;
Modern: It is a quality that belongs to God himself;

Original: And earthly power doth then show likest God’s
Modern: And human power most resembles God’s power

Original: When mercy seasons justice. Therefore, Jew,
Modern: When mercy softens justice. So, Shylock,

Original: Though justice be thy plea, consider this,
Modern: Even though you’re demanding justice, think about this,

Original: That, in the course of justice, none of us
Modern: That, if we got pure justice, none of us

Original: Should see salvation: we do pray for mercy;
Modern: Would be saved: we all pray for God’s mercy;

Original: And that same prayer doth teach us all to render
Modern: And that same prayer teaches us all to give

Original: The deeds of mercy. I have spoke thus much
Modern: Acts of mercy to others. I have said all this

Original: To mitigate the justice of thy plea;
Modern: To soften your demand for strict justice;

Original: Which if thou follow, this strict court of Venice
Modern: Because if you insist on it, this rigid Venetian court

Original: Must needs give sentence ‘gainst the merchant there.
Modern: Will have no choice but to rule against Antonio there.

In Act IV, Scene 1 of “The Merchant of Venice,” the climactic trial scene takes place in a Venetian court of justice. Antonio faces Shylock’s demand for the pound of flesh specified in their bond, as Antonio has defaulted on Bassanio’s loan. The Duke of Venice presides over the proceedings, hoping to persuade Shylock to show mercy, but the Jewish moneylender remains adamant about collecting his due according to the letter of the law. Bassanio offers to pay double or even ten times the original debt, but Shylock refuses all monetary compensation, insisting on his legal right to Antonio’s flesh. The Duke threatens to dismiss the court rather than allow such cruelty, but acknowledges he cannot deny Shylock’s legal claim.

The proceedings take a dramatic turn when Portia arrives disguised as a young lawyer named Balthazar, sent supposedly by the learned Doctor Bellario. She initially seems to support Shylock’s legal position, acknowledging that the bond is valid and that Shylock may proceed. However, just as Shylock prepares to cut Antonio’s flesh, Portia reveals the crucial legal technicality: while Shylock is entitled to a pound of flesh, the bond makes no mention of blood, and he must take exactly one pound—no more, no less—or face the penalty of death and forfeiture of goods. Trapped by this interpretation, Shylock attempts to accept Bassanio’s monetary offer instead, but Portia declares he must take only what the bond allows or nothing at all. The scene concludes with Shylock’s defeat, as he is further charged under Venetian law for seeking the life of a citizen, ultimately losing half his wealth and being forced to convert to Christianity.

The Merchant of Venice centers on Bassanio, a young Venetian gentleman who needs money to court the wealthy heiress Portia in Belmont. His friend Antonio, a merchant, agrees to help but has no ready cash since his ships are at sea. Antonio borrows 3,000 ducats from Shylock, a Jewish moneylender, with the unusual condition that if the loan isn’t repaid within three months, Shylock may take a pound of Antonio’s flesh. Meanwhile, Shylock’s daughter Jessica elopes with the Christian Lorenzo, taking her father’s money and jewels.

In Belmont, Portia’s deceased father has decreed that her suitors must choose correctly among three caskets—gold, silver, and lead—to win her hand. The Prince of Morocco and the Prince of Arragon both choose incorrectly and depart. When Bassanio arrives and selects the lead casket, he wins Portia, while his friend Gratiano wins her maid Nerissa. Their celebrations are interrupted by news that Antonio’s ships have been lost and Shylock demands his pound of flesh.

Portia and Nerissa disguise themselves as a lawyer and clerk and travel to Venice for Antonio’s trial. In court, Portia grants Shylock his legal right to the flesh but warns he may take no blood and must cut exactly one pound—an impossible task. Defeated, Shylock loses his bond and, under Venetian law, must forfeit half his wealth and convert to Christianity. The disguised Portia requests Bassanio’s wedding ring as payment, which he reluctantly gives. Back in Belmont, Portia playfully scolds her husband for giving away his ring before revealing her disguise. The play concludes with news that Antonio’s ships have safely returned, restoring his fortune.