We are again at Belmont and witness the entrance of the Prince of Morocco, and the whole scene has a poetic dignity and repose which form a striking contrast to the preceding one. We get in the character of the Prince of Morocco a preliminary sketch of Shakespeare's Othello, and certainly the actor, to do justice to the part, should have the voice and presence of a Salvini. The second scene shows us the Jew's man about to leave his rich master to become the follower of Bassanio, and the latter, now possessed of Shylock's money, preparing his outfit for the journey to Belmont, whither Gratiano also is bent on going. There is, besides, some talk of merrymaking at night-time, which fitly leads up to our introduction to Jessica in the next scene, and prepares us to hear of her intrigue with Lorenzo. Jessica is the third female character in the play, and the dramatist intends her to appear, in contrast to Portia and Nerissa, as a tragic figure, dark, pale, melancholy, demure, yet chaste in thought and in action, and with a heart susceptible of tender and devoted love. She plans her elopement with the same fixedness of purpose as the father pursues his revenge. In Scene 4 the elopement incident is advanced a step by Lorenzo receiving Jessica's directions "how to take her from her father's house," and a little further in the next scene, by Shylock being got out of the way, when we hear Jessica's final adieu. It is worth noting in this scene that, at a moment when we are ready to sympathize with Shylock, who is about to lose his daughter, the dramatist denies us that privilege by further illustrating the malignancy of the man's character. He has had an unlucky dream; he anticipates trouble falling upon his house; he is warned by Launcelot that there are to be masques at night; he admits that he is not invited to Bassanio's feast out of love, but out of flattery, and still he can say-- "But yet I'll go _in hate_, to feed upon The prodigal Christian." No personal inconvenience must hinder the acceleration of Antonio's downfall. In Scene 6 the elopement takes place, but is almost prevented by the entrance of Antonio, whose solemn voice ringing clear on the stillness of the night is a fine dramatic contrast to the whispering of the lovers. Shakespeare now thinks it time to return to Belmont, and we are shown the Prince of Morocco making his choice of the caskets, and we learn his fate. But he bears his disappointment like a hero, and his dignified retreat moves Portia to exclaim: "A _gentle_ riddance!" Scene 8 is one of narration only, but the speakers are in an excited frame of mind. The opening lines are intended to show that Antonio was not concerned in the flight of Jessica, and our interest in his character is further strengthened by the touching description of his farewell to Bassanio.