Scene 9 disposes of the second of Portia's remaining suitors, and, being comic in character, is inserted with good effect between two tragic scenes. The keynote to its action is to be found in Portia's words: "O, these _deliberate_ fools!" The Prince of Morocco was a warrior, heroic to the tips of his fingers; the Prince of Arragon is a fop, an affected ass, a man "full of wise saws and modern instances," and the audience should be prepared for a highly amusing scene by the liveliness with which Nerissa announces his approach. His mannerism is indicated to us in such expressions as "Ha! let me see," and "Well, but to my choice." He should walk deliberately, speak deliberately, pause deliberately, and when he becomes sentimental, "pose." Highly conscious of his own superiority, and unwilling to "jump with _common_ spirits" and "rank me with the _barbarous_ multitudes," he assumes superiority, and gets his reward in the shape of a portrait of a blinking idiot. In fact, the whims of this Malvolio are intended to put everyone on and off the stage into high spirits, and even Portia is carried away by the fun as she mimics the retiring suitor in her exclamation to the servant. The scene ends with the announcement that Bassanio, "Lord Love," is on his way to Belmont, and we go on at once to Act III., Scene 1, which, I take it, is a continuation of Act II., Scene 8, and which, therefore, should not form part of another act. The scene opens with Salarino and Solanio hurrying on the stage anxiously questioning each other about Antonio's rumoured loss at sea. Shylock follows almost immediately, to whom they at once turn in the hope of hearing news. It is usual on the stage to omit the entrance of Antonio's man, but apart from the dramatic effect produced by a follower of Antonio coming on to the stage at that moment, his appearance puts an end to the controversy, which otherwise would probably continue. Salarino and Solanio leave the stage awed almost to breathlessness, and Tubal enters. Then follows a piteous scene as we see Shylock's outbursts of grief, rage, and despair over the loss of his gold; yet is his anguish aggravated by the one from whom of all others he had a right to expect sympathy. But Shylock, after Tubal's words, "But Antonio is certainly undone," mutters, "Nay, that's true, that's very true," and takes from his purse a coin, and with a countenance and gesture expressive of indomitable purpose, continues: "_Go_, Tubal, fee me an officer; bespeak him a _fortnight_ before. I will have the _heart_ of him if he forfeit.... _Go_, Tubal, and meet me at our synagogue. _Go_, good Tubal; at our synagogue, Tubal." Shylock's misfortunes in this scene would arouse sympathy were it not for the damning confession to Tubal of his motive for hating Antonio "for were he out of Venice I can make what merchandise I will." Words that Jessica's lines prove are not idle ones.