Original: What find I here?
Modern: What do I find here?

Original: Fair Portia’s counterfeit! What demi-god
Modern: A beautiful portrait of Portia! What half-god

Original: Hath come so near creation? Move these eyes?
Modern: Has come so close to creating real life? Do these eyes move?

Original: Or whether, riding on the balls of mine,
Modern: Or is it because my own eyes are moving,

Original: Seem they in motion? Here are sever’d lips,
Modern: That they seem to be in motion? Here are parted lips,

Original: Parted with sugar breath: so sweet a bar
Modern: Separated by sweet breath—such a sweet barrier

Original: Should sunder such sweet friends. Here in her hairs
Modern: That keeps these sweet friends apart. Here in her hair

Original: The painter plays the spider and hath woven
Modern: The artist acts like a spider and has woven

Original: A golden mesh to entrap the hearts of men,
Modern: A golden web to trap the hearts of men,

Original: Faster than gnats in cobwebs; but her eyes,–
Modern: Faster than gnats caught in cobwebs. But her eyes—

Original: How could he see to do them? having made one,
Modern: How could he see to paint them? Having painted one,

Original: Methinks it should have power to steal both his
Modern: I think it should have the power to steal both of his own eyes

Original: And leave itself unfurnish’d. Yet look, how far
Modern: And leave the portrait without a match. Yet look at how much

Original: The substance of my praise doth wrong this shadow
Modern: My actual praise fails to do justice to this portrait

Original: In underprizing it, so far this shadow
Modern: By undervaluing it, just as much as this portrait

Original: Doth limp behind the substance. Here’s the scroll,
Modern: Falls short of the real thing. Here’s the scroll,

Original: The continent and summary of my fortune.
Modern: The container and summary of my fate.

Original: You that choose not by the view,
Modern: You who did not choose based on appearances,

Original: Chance as fair and choose as true!
Modern: Your luck is as good as your choice is honest!

Original: Since this fortune falls to you,
Modern: Since this good fortune has come to you,

Original: Be content and seek no new,
Modern: Be satisfied and don’t look for anything else,

Original: If you be well pleased with this
Modern: If you are happy with this

Original: And hold your fortune for your bliss,
Modern: And consider your good luck to be your happiness,

Original: Turn you where your lady is
Modern: Turn to where your lady is

Original: And claim her with a loving kiss.
Modern: And claim her with a loving kiss.

Original: A gentle scroll. Fair lady, by your leave;
Modern: A kind message. Beautiful lady, with your permission,

Original: I come by note, to give and to receive.
Modern: I come as instructed, to give and to receive.

Original: Like one of two contending in a prize,
Modern: Like someone competing in a contest,

Original: That thinks he hath done well in people’s eyes,
Modern: Who thinks he has done well in people’s opinion,

Original: Hearing applause and universal shout,
Modern: Hearing applause and cheering from everyone,

Original: Giddy in spirit, still gazing in a doubt
Modern: Dizzy with excitement, still looking around in doubt

Original: Whether these pearls of praise be his or no;
Modern: About whether these precious words of praise are really for him or not—

Original: So, thrice fair lady, stand I, even so;
Modern: That’s how I stand before you, three times beautiful lady;

Original: As doubtful whether what I see be true,
Modern: Uncertain whether what I see is real,

Original: Until confirm’d, sign’d, ratified by you.
Modern: Until it’s confirmed, signed, and approved by you.

In Act III, Scene 2 of “The Merchant of Venice,” Bassanio arrives at Belmont to attempt the casket test that will determine whether he can marry Portia. Portia expresses her anxiety about the trial, fearing that if Bassanio chooses incorrectly, she will lose him forever. She asks him to wait before making his choice, wanting to spend more time with him, but Bassanio insists on proceeding immediately, unable to bear the suspense. Portia then orders music to be played while Bassanio makes his selection, comparing the moment to various dramatic scenarios where music accompanies momentous decisions.

Bassanio deliberates aloud about the three caskets - gold, silver, and lead - rejecting the first two as representing superficial appearances that often deceive. He reasons that outward beauty frequently conceals corruption, citing examples from law, religion, and warfare where attractive exteriors hide dangerous realities. Choosing the lead casket for its plain and honest appearance, Bassanio discovers Portia’s portrait inside, along with a scroll confirming his success. Portia joyfully gives herself and her fortune to him, presenting him with a ring as a token of their love and making him promise never to part with it. The scene concludes with the arrival of Gratiano and Nerissa, who reveal they too wish to marry, followed by Lorenzo and Jessica bringing news of Antonio’s financial ruin and the forfeit of his bond to Shylock.

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.