But now things suddenly turn black for Antonio. Even when Solanio had been mocking Shylock's grief-stricken outcries two scenes earlier, his friend Salerio had spoken of rumors concerning lost merchant vessels. Now the news is more specific and more damaging. Salerio reports to Solanio the news that

—Act III, scene i, lines 2-5

The "narrow seas" is the English Channel, or perhaps the Strait of Dover (only two dozen miles wide) in particular. It would seem to us that a Venetian would be more likely to refer to the strait between Italy and Sicily or Spain and Africa as the "narrow seas," but to the English audience of the play, the phrase would have only one meaning.

The "Goodwins" are the Goodwin Sands, seven miles east of the southeastern tip of England. These are a ten-mile-long stretch of treacherous shoals, where the sands are actually partly exposed at low tide.

Shylock enters, sorrow-laden and bitter. The two Venetians jeer at him, but when they ask about news concerning Antonio, it is clear that matters are worse and worse. Shylock is now grimly intent on his bargain and he echoes Solanio's earlier remark when he says of Antonio:

—Act III, scene i, lines 44-45

When Salerio, rather shaken out of his mockery, asks what use Shylock will find in a piece of human flesh, Shylock bursts out into a moving defense of himself and his fellows. It would almost seem that Shakespeare, driven by the force of his own genius and the necessity of creating a well-rounded character at all costs, gives Shylock-all against the playwright's own will, one might think-a tragic dignity and puts words in his mouth that the mocking Venetians can find no words to answer.

What does he want with the pound of flesh? Shylock grinds out:

—Act HI, scene i, lines 50-69

Remember this is a Jew's defense as placed in his mouth by someone not friendly to Jews. It is not, therefore, the most effective defense a Jew can make. Even so, the points are clear. Shylock does not claim to be better than a Christian. He merely claims to be no worse, and even in the context of the play, that gives him a great deal of room. Everyone in the play humiliates and torments him without conscience or remorse and nowhere and at no time do they consider it wrong. Even the saintly Antonio sees no wrong here.

Shylock, at least, recognizes villainy when he sees it. He admits his own plan to be villainous. His defense is that it has been taught him by Christians. In recognizing the villainy, he rises, in a way, an ethical notch above his tormenters.

Solanio and Salerio leave the stage with another sneer, but with no attempt at a real answer. Another Jew enters. Shylock greets him at once with feverish anxiety:

—Act III, scene i, lines 75-76

Tubal is no more a personal Jewish name than Shylock is. The name is to be found in the listing of nations in the tenth chapter of Genesis, where in the second verse it is written, "The sons of Japheth; Gomer, and Magog, and Madai, and Javan, and Tubal, and Meshech, and Tiras." These are taken to be the names of tribes and regions rather than of true individuals.

The one place where Tubal occurs in a context familiar to the casual biblical reader is in Genesis 4:22, which reads, "And Zillah, she also bare Tubal-cain, an instructor of every artificer in brass and iron."

According to biblical legend, then, Tubal-cain was the first metallurgist. But even here the name means "smith of Tubal," a region in eastern Asia Minor (one suspects from Assyrian records) famous for its metal production.

Tubal has brought no definite news of Jessica's whereabouts, but has evidence that she gave one of Shylock's jeweled rings to a sailor in exchange for a monkey. Shylock groans in agony and says:

—Act III, scene i, lines 113-16

Shylock's frustrated outcry is undoubtedly designed to get a laugh, and the Elizabethan audience undoubtedly obliged. For us, however, this is surely a remarkably touching moment. Could Shylock, this monster of evil, so love his dead wife and honor her memory? Could there be a spark of love in his harsh heart? Was he a human being?

And what of Jessica, with whom the audience is expected to be completely in sympathy? The ring was her mother's. Was she so completely dead to family affection as to part with it for so trivial and unworthy an exchange? What might this tell us of the effect of conversion from Judaism to Christianity-and does anyone in the audience think of that?

And at the very tune Shylock's heart is ground by the loss of his wife's ring, he hears that Antonio is losing everything through a succession of shipwrecks. More than ever now, he must have his pound of flesh of the man who has abused him so much and who (he surely believes) has arranged the elopement of his wicked daughter.