From Frankenstein by Mary Shelly

Shutting the door, he [the monster] approached me and said in a smothered voice, "You have destroyed the work which you began; what is it that you intend? Do you dare to break your promise? I have endured toil and misery; I left Switzerland with you; I crept along the shores of the Rhine, among its willow islands and over the summits of its hills. I have dwelt many months in the heaths of England and among the deserts of Scotland. I have endured incalculable fatigue, and cold, and hunger; do you dare destroy my hopes?"

"Begone! I do break my promise; never will I create another like yourself, equal in deformity and wickedness."

"Slave, I before reasoned with you, but you have proved yourself unworthy of my condescension. Remember that I have power; you believe yourself miserable, but I can make you so wretched that the light of day will be hateful to you. You are my creator, but I am your master; obey!"

"The hour of my irresolution is past, and the period of your power is arrived. Your threats cannot move me to do an act of wickedness; but they confirm me in a determination of not creating you a companion in vice. Shall I, in cool blood, set loose upon the earth a daemon whose delight is in death and wretchedness? Begone! I am firm, and your words will only exasperate my rage."

The monster saw my determination in my face and gnashed his teeth in the impotence of anger. "Shall each man," cried he, "find a wife for his bosom, and each beast have his mate, and I be alone? I had feelings of affection, and they were requited by detestation and scorn. Man! You may hate, but beware! Your hours will pass in dread and misery, and soon the bolt will fall which must ravish from you your happiness forever. Are you to be happy while I grovel in the intensity of my wretchedness? You can blast my other passions, but revenge remains--revenge, henceforth dearer than light or food! I may die, but first you, my tyrant and tormentor, shall curse the sun that gazes on your misery. Beware, for I am fearless and therefore powerful. I will watch with the wiliness of a snake, that I may sting with its venom. Man, you shall repent of the injuries you inflict."

"Devil, cease; and do not poison the air with these sounds of malice. I have declared my resolution to you, and I am no coward to bend beneath words. Leave me; I am inexorable."

"It is well. I go; but remember, I shall be with you on your wedding-night."

I started forward and exclaimed, "Villain! Before you sign my death-warrant, be sure that you are yourself safe."

I would have seized him, but he eluded me and quitted the house with precipitation. In a few moments I saw him in his boat, which shot across the waters with an arrowy swiftness and was soon lost amidst the waves.

All was again silent, but his words rang in my ears. I burned with rage to pursue the murderer of my peace and precipitate him into the ocean. I walked up and down my room hastily and perturbed, while my imagination conjured up a thousand images to torment and sting me. Why had I not followed him and closed with him in mortal strife? But I had suffered him to depart, and he had directed his course towards the mainland. I shuddered to think who might be the next victim sacrificed to his insatiate revenge. And then I thought again of his words--"I WILL BE WITH YOU ON YOUR WEDDING-NIGHT." That, then, was the period fixed for the fulfillment of my destiny. In that hour I should die and at once satisfy and extinguish his malice. The prospect did not move me to fear; yet when I thought of my beloved Elizabeth, of her tears and endless sorrow, when she should find her lover so barbarously snatched from her, tears, the first I had shed for many months, streamed from my eyes, and I resolved not to fall before my enemy without a bitter struggle.

The expression "lex talionis" describes a kind of action (or legal system) that aims at establishing justice by exact retribution. Which of the following sentences from the selection most evokes the retribution demanded by this kind of law?

Adapted from Middlemarch by George Eliot (1874)

[Mrs. Vincy] never left Fred’s side when her husband was not in the house, and thus Rosamond was in the unusual position of being much alone. Lydgate, naturally, never thought of staying long with her, yet it seemed that the brief impersonal conversations they had together were creating that peculiar intimacy which consists in shyness. They were obliged to look at each other in speaking, and somehow the looking could not be carried through as the matter of course which it really was. Lydgate began to feel this sort of consciousness unpleasant, and one day looked down, or anywhere, like an ill-worked puppet. But this turned out badly: the next day, Rosamond looked down, and the consequence was that when their eyes met again, both were more conscious than before. There was no help for this in science, and as Lydgate did not want to flirt, there seemed to be no help for it in folly. It was therefore a relief when neighbors no longer considered the house in quarantine, and when the chances of seeing Rosamond alone were very much reduced.

But that intimacy of mutual embarrassment, in which each feels that the other is feeling something, having once existed, its effect is not to be done away with. Talk about the weather and other well-bred topics is apt to seem a hollow device, and behavior can hardly become easy unless it frankly recognizes a mutual fascination – which of course need not mean anything deep or serious. This was the way in which Rosamond and Lydgate slid gracefully into ease, and made their intercourse lively again. Visitors came and went as usual, there was once more music in the drawing room, and all the extra hospitality of Mr. Vincy’s mayoralty returned. Lydgate, whenever he could, took his seat by Rosamond’s side, and lingered to hear her music, calling himself her captive – meaning, all the while, not to be her captive. The preposterousness of the notion that he could at once set up a satisfactory establishment as a married man was a sufficient guarantee against danger. This play at being a little in love was agreeable, and did not interfere with graver pursuits. Flirtation, after all, was not necessarily a singeing process. Rosamond, for her part, had never enjoyed the days so much in her life before: she was sure of being admired by someone worth captivating, and she did not distinguish flirtation from love, either in herself or in another. She seemed to be sailing with a fair wind just whither she would go, and her thoughts were much occupied with a handsome house in Lowick Gate which she hoped would by-and-by be vacant. She was quite determined, when she was married, to rid herself adroitly of all the visitors who were not agreeable to her at her father’s, and she imagined the drawing room in her favourite house with various styles of furniture.

Certainly her thoughts were much occupied with Lydgate himself, he seemed to her almost perfect: if he had known his notes so that his enchantment under her music had been less like an emotional elephant’s, and if he had been able to discriminate better the refinements of her taste in dress, she could hardly have mentioned a deficiency in him. How different he was from young Plymdale or Mr. Caius Larcher! Those young men had not a notion of French, and could speak on no subject with striking knowledge, except perhaps the dyeing and carrying trades, which of course they were ashamed to mention; they were Middlemarch gentry, elated with their silver-headed whips and satin stocks, but embarrassed in their manners, and timidly jocose: even Fred was above them, having at least the accent and manner of a university man. Whereas Lydgate was always listened to, bore himself with the careless politeness of conscious superiority, and seemed to have the right clothes on by a certain natural affinity, without ever having to think about them. Rosamond was proud when he entered the room, and when he approached her with a distinguishing smile, she had a delicious sense that she was the object of enviable homage. If Lydgate had been aware of all the pride he excited in that delicate bosom, he might have been just as well pleased as any other man, even the most densely ignorant of humoral pathology or fibrous tissue: he held it one of the prettiest attitudes of the feminine mind to adore a man’s pre-eminence without too precise a knowledge of what it consisted in.

The last sentence of the passage serves to do what?

Adapted from Howard's End by E.M. Forster (1910)

We are not concerned with the very poor. They are unthinkable, and only to be approached by the statistician or the poet. This story deals with gentlefolk, or with those who are obliged to pretend that they are gentlefolk.

The boy, Leonard Bast, stood at the extreme verge of gentility. He was not in the abyss, but he could see it, and at times people whom he knew had dropped in, and counted no more. He knew that he was poor, and would admit it: he would have died sooner than confess any inferiority to the rich. This may be splendid of him. But he was inferior to most rich people, there is not the least doubt of it. He was not as courteous as the average rich man, nor as intelligent, nor as healthy, nor as lovable. His mind and his body had been alike underfed, because he was poor, and
because he was modern they were always craving better food. Had he lived some centuries ago, in the brightly coloured civilizations of the past, he would have had a definite status, his rank and his income would have corresponded. But in his day the angel of Democracy had arisen, enshadowing the classes with leathern wings, and proclaiming, "All men are equal--all men, that is to say,
who possess umbrellas," and so he was obliged to assert gentility, lest he slipped into the abyss where nothing counts, and the statements of Democracy are inaudible.

As he walked away from Wickham Place, his first care was to prove that he was as good as the Miss Schlegels. Obscurely wounded in his pride, he tried to wound them in return. They were probably not ladies. Would real ladies have asked him to tea? They were certainly ill-natured and cold. At each step his feeling of superiority increased. Would a real lady have talked about stealing an umbrella? Perhaps they were thieves after all, and if he had gone into the house they could have clapped a chloroformed handkerchief over his face. He walked on complacently as far as the Houses of Parliament. There an empty stomach asserted itself, and told him he was a fool.

"Evening, Mr. Bast."

"Evening, Mr. Dealtry."

"Nice evening."

"Evening."

Mr. Dealtry, a fellow clerk, passed on, and Leonard stood wondering whether he would take the tram as far as a penny would take him, or whether he would walk. He decided to walk--it is no good giving in, and he had spent money enough at Queen's Hall--and he walked over Westminster Bridge, in front of St. Thomas's Hospital, and through the immense tunnel that passes under the South-Western main line at Vauxhall. In the tunnel he paused and listened to the roar of the trains. A sharp pain darted through his head, and he was conscious of the exact form of his eye sockets. He pushed on for another mile, and did not slacken speed until he stood at the entrance of a road called Camelia Road, which was at present his home.

Here he stopped again, and glanced suspiciously to right and left, like a rabbit that is going to bolt into its hole. A block of flats, constructed with extreme cheapness, towered on either hand. Farther down the road two more blocks were being built, and beyond these an old house was being demolished to accommodate another pair. It was the kind of scene that may be observed all over London, whatever the locality--bricks and mortar rising and falling with the restlessness of the water in a fountain, as the city receives more and more men upon her soil. Camelia Road would soon stand out like a fortress, and command, for a little, an extensive view. Only for a little. Plans were out for the erection of flats in Magnolia Road also. And again a few years, and all the flats in either road might be pulled down, and new buildings, of a vastness at present unimaginable, might arise where they had fallen.

The main point of the last paragraph of the passage is to emphasize which of the following?

Adapted from The Picture of Dorian Gray by Oscar Wilde (1891)

"Dorian," cried Hallward, "that is not the question. England is bad enough I know, and English society is all wrong. That is the reason why I want you to be fine. You have not been fine. One has a right to judge of a man by the effect he has over his friends. Yours seem to lose all sense of honor, of goodness, of purity. You have filled them with a madness for pleasure. They have gone down into the depths. You led them there. Yes: you led them there, and yet you can smile, as you are smiling now. And there is worse behind. I know you and Harry are inseparable. Surely for that reason, if for none other, you should not have made his sister's name a by-word."

"Take care, Basil. You go too far."

"I must speak, and you must listen. You shall listen. When you met Lady Gwendolen, not a breath of scandal had ever touched her. Is there a single decent woman in London now who would drive with her in the park? Why, even her children are not allowed to live with her. Then there are other stories—stories that you have been seen creeping at dawn out of dreadful houses and slinking in disguise into the foulest dens in London. Are they true? Can they be true? When I first heard them, I laughed. I hear them now, and they make me shudder. What about your country-house and the life that is led there? Dorian, you don't know what is said about you. I won't tell you that I don't want to preach to you. I remember Harry saying once that every man who turned himself into an amateur curate for the moment always began by saying that, and then proceeded to break his word. I do want to preach to you. I want you to lead such a life as will make the world respect you. I want you to have a clean name and a fair record. I want you to get rid of the dreadful people you associate with. Don't shrug your shoulders like that. Don't be so indifferent. You have a wonderful influence. Let it be for good, not for evil. They say that you corrupt every one with whom you become intimate, and that it is quite sufficient for you to enter a house for shame of some kind to follow after. I don't know whether it is so or not. How should I know? But it is said of you. I am told things that it seems impossible to doubt. Lord Gloucester was one of my greatest friends at Oxford. He showed me a letter that his wife had written to him when she was dying alone in her villa at Mentone. Your name was implicated in the most terrible confession I ever read. I told him that it was absurd—that I knew you thoroughly and that you were incapable of anything of the kind. Know you? I wonder do I know you? Before I could answer that, I should have to see your soul."

"To see my soul!" muttered Dorian Gray, starting up from the sofa and turning almost white from fear.

"Yes," answered Hallward gravely, and with deep-toned sorrow in his voice, "to see your soul. But only God can do that."

A bitter laugh of mockery broke from the lips of the younger man. "You shall see it yourself, tonight!" he cried, seizing a lamp from the table. "Come: it is your own handiwork. Why shouldn't you look at it? You can tell the world all about it afterwards, if you choose. Nobody would believe you. If they did believe you, they would like me all the better for it. I know the age better than you do, though you will prate about it so tediously. Come, I tell you. You have chattered enough about corruption. Now you shall look on it face to face."

There was the madness of pride in every word he uttered. He stamped his foot upon the ground in his boyish insolent manner. He felt a terrible joy at the thought that someone else was to share his secret, and that the man who had painted the portrait that was the origin of all his shame was to be burdened for the rest of his life with the hideous memory of what he had done.

Based on the first paragraph, what can we say of Dorian’s conscience?

Adapted from Othello by William Shakespeare (1604)

IAGO: Three great ones of the city,                                                  

In personal suit to make me his lieutenant,

Off-capp'd to him: and, by the faith of man,

I know my price, I am worth no worse a place:

But he; as loving his own pride and purposes,

Evades them, with a bombast circumstance

Horribly stuff'd with epithets of war;

And, in conclusion,

Nonsuits my mediators; for, 'Certes,' says he,

'I have already chose my officer.'

And what was he?

Forsooth, a great arithmetician,

One Michael Cassio, a Florentine,

A fellow almost damn'd in a fair wife;

That never set a squadron in the field,

Nor the division of a battle knows

More than a spinster; unless the bookish theoric,

Wherein the toga’d consuls can propose

As masterly as he: mere prattle, without practise,

Is all his soldiership. But he, sir, had the election:

And I, of whom his eyes had seen the proof

At Rhodes, at Cyprus and on other grounds

Christian and heathen, must be be-lee'd and calm'd

By debitor and creditor: this counter-caster,

He, in good time, must his lieutenant be,

And I—God bless the mark!—his Moorship's ancient.

The speaker’s attitude toward Michael Cassio in the bolded and underlined lines can best be described as __________.

Adapted from King Henry V by William Shakespeare (III.i.1092-1125)

Once more unto the breach, dear friends, once more;

Or close the wall up with our English dead.

In peace there's nothing so becomes a man

As modest stillness and humility:

But when the blast of war blows in our ears,

Then imitate the action of the tiger;

Stiffen the sinews, summon up the blood,

Disguise fair nature with hard-favour'd rage;

Then lend the eye a terrible aspect;

Let pry through the portage of the head

Like the brass cannon; let the brow o'erwhelm it

As fearfully as doth a galled rock

O'erhang and jutty his confounded base,

Swill'd with the wild and wasteful ocean.

Now set the teeth and stretch the nostril wide,

Hold hard the breath and bend up every spirit

To his full height. On, on, you noblest English.

Whose blood is fet from fathers of war-proof!

Fathers that, like so many Alexanders,

Have in these parts from morn till even fought

And sheathed their swords for lack of argument:

Dishonour not your mothers; now attest

That those whom you call'd fathers did beget you.

Be copy now to men of grosser blood,

And teach them how to war. And you, good yeoman,

Whose limbs were made in England, show us here

The mettle of your pasture; let us swear

That you are worth your breeding; which I doubt not;

For there is none of you so mean and base,

That hath not noble lustre in your eyes.

I see you stand like greyhounds in the slips,

Straining upon the start. The game's afoot:

Follow your spirit, and upon this charge

Cry "God for Harry, England, and Saint George!"

Which of the following lines does LEAST to inspire nationalistic fervor in Henry's soldiers?

Adapted from Richard III by William Shakespeare, I.i.1-42

Now is the winter of our discontent
Made glorious summer by this sun of York;
And all the clouds that lour'd upon our house
In the deep bosom of the ocean buried.
Now are our brows bound with victorious wreaths;
Our bruised arms hung up for monuments;
Our stern alarums changed to merry meetings,
Our dreadful marches to delightful measures.
Grim-visaged war hath smooth'd his wrinkled front;
And now, instead of mounting barded steeds
To fright the souls of fearful adversaries,
He capers nimbly in a lady's chamber
To the lascivious pleasing of a lute.
But I, that am not shaped for sportive tricks,
Nor made to court an amorous looking-glass;
I, that am rudely stamp'd, and want love's majesty
To strut before a wanton ambling nymph;
I, that am curtail'd of this fair proportion,
Cheated of feature by dissembling nature,
Deformed, unfinish'd, sent before my time
Into this breathing world, scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them;
Why, I, in this weak piping time of peace,
Have no delight to pass away the time,
Unless to spy my shadow in the sun
And descant on mine own deformity:
And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain
And hate the idle pleasures of these days.
Plots have I laid, inductions dangerous,
By drunken prophecies, libels and dreams,
To set my brother Clarence and the king
In deadly hate the one against the other:
And if King Edward be as true and just
As I am subtle, false and treacherous,
This day should Clarence closely be mew'd up,
About a prophecy, which says that 'G'
Of Edward's heirs the murderer shall be.
Dive, thoughts, down to my soul: here
Clarence comes.

In the underlined line, the speaker conveys that he __________.

Adapted from Walt Whitman's "Crossing Brooklyn Ferry" in Leaves of Grass (1855)

Flood-tide below me! I see you face to face!
Clouds of the west—sun there half an hour high—I see you also face to face.

Crowds of men and women attired in the usual costumes, how curious you are to me!
On the ferry-boats the hundreds and hundreds that cross, returning home, are more curious to me than you suppose,
And you that shall cross from shore to shore years hence are more to me, and more in my meditations, than you might suppose.

2

The impalpable sustenance of me from all things at all hours of the day,
The simple, compact, well-join’d scheme, myself disintegrated, every one disintegrated yet part of the scheme,
The similitudes of the past and those of the future,
The glories strung like beads on my smallest sights and hearings, on the walk in the street and the passage over the river,
The current rushing so swiftly and swimming with me far away,
The others that are to follow me, the ties between me and them,
The certainty of others, the life, love, sight, hearing of others. 

Others will enter the gates of the ferry and cross from shore to shore,
Others will watch the run of the flood-tide,
Others will see the shipping of Manhattan north and west, and the heights of Brooklyn to the south and east,
Others will see the islands large and small;
Fifty years hence, others will see them as they cross, the sun half an hour high,
A hundred years hence, or ever so many hundred years hence, others will see them,
Will enjoy the sunset, the pouring-in of the flood-tide, the falling-back to the sea of the ebb-tide.
 

3

It avails not, time nor place—distance avails not,
I am with you, you men and women of a generation, or ever so many generations hence,
Just as you feel when you look on the river and sky, so I felt,
Just as any of you is one of a living crowd, I was one of a crowd,
Just as you are refresh’d by the gladness of the river and the bright flow, I was refresh’d,
Just as you stand and lean on the rail, yet hurry with the swift current, I stood yet was hurried,
Just as you look on the numberless masts of ships and the thick-stemm’d pipes of steamboats, I look’d.

I too many and many a time cross’d the river of old,
Watched the Twelfth-month sea-gulls, saw them high in the air floating with motionless wings, oscillating their bodies,
Saw how the glistening yellow lit up parts of their bodies and left the rest in strong shadow,
Saw the slow-wheeling circles and the gradual edging toward the south,
Saw the reflection of the summer sky in the water,
Had my eyes dazzled by the shimmering track of beams . . .

Which of the following images serves as the closest metaphor for the speaker’s overall conception of time?

Adapted from Walt Whitman's "Crossing Brooklyn Ferry" in Leaves of Grass (1855)

Flood-tide below me! I see you face to face!
Clouds of the west—sun there half an hour high—I see you also face to face.

Crowds of men and women attired in the usual costumes, how curious you are to me!
On the ferry-boats the hundreds and hundreds that cross, returning home, are more curious to me than you suppose,
And you that shall cross from shore to shore years hence are more to me, and more in my meditations, than you might suppose.

2

The impalpable sustenance of me from all things at all hours of the day,
The simple, compact, well-join’d scheme, myself disintegrated, every one disintegrated yet part of the scheme,
The similitudes of the past and those of the future,
The glories strung like beads on my smallest sights and hearings, on the walk in the street and the passage over the river,
The current rushing so swiftly and swimming with me far away,
The others that are to follow me, the ties between me and them,
The certainty of others, the life, love, sight, hearing of others. 

Others will enter the gates of the ferry and cross from shore to shore,
Others will watch the run of the flood-tide,
Others will see the shipping of Manhattan north and west, and the heights of Brooklyn to the south and east,
Others will see the islands large and small;
Fifty years hence, others will see them as they cross, the sun half an hour high,
A hundred years hence, or ever so many hundred years hence, others will see them,
Will enjoy the sunset, the pouring-in of the flood-tide, the falling-back to the sea of the ebb-tide.
 

3

It avails not, time nor place—distance avails not,
I am with you, you men and women of a generation, or ever so many generations hence,
Just as you feel when you look on the river and sky, so I felt,
Just as any of you is one of a living crowd, I was one of a crowd,
Just as you are refresh’d by the gladness of the river and the bright flow, I was refresh’d,
Just as you stand and lean on the rail, yet hurry with the swift current, I stood yet was hurried,
Just as you look on the numberless masts of ships and the thick-stemm’d pipes of steamboats, I look’d.

I too many and many a time cross’d the river of old,
Watched the Twelfth-month sea-gulls, saw them high in the air floating with motionless wings, oscillating their bodies,
Saw how the glistening yellow lit up parts of their bodies and left the rest in strong shadow,
Saw the slow-wheeling circles and the gradual edging toward the south,
Saw the reflection of the summer sky in the water,
Had my eyes dazzled by the shimmering track of beams . . .

In line 7, the underlined phrase “myself disintegrated, every one disintegrated, yet part of the scheme,” most closely refers to which of the following?

Adapted from The Merchant of Venice, IV.i.2199-2280, by William Shakespeare (1600)

PORTIA: It is so. Are there balance here to weigh

    The flesh?

  SHYLOCK: I have them ready.

  PORTIA: Have by some surgeon, Shylock, on your charge,

    To stop his wounds, lest he do bleed to death.

  SHYLOCK: Is it so nominated in the bond?

  PORTIA: It is not so express'd, but what of that?

    'Twere good you do so much for charity.

  SHYLOCK: I cannot find it; 'tis not in the bond.

  PORTIA. You, merchant, have you anything to say?

  ANTONIO: But little: I am arm'd and well prepar'd.

    Give me your hand, Bassanio; fare you well.

    Grieve not that I am fall'n to this for you,

    For herein Fortune shows herself more kind

    Than is her custom. It is still her use

    To let the wretched man outlive his wealth,

    To view with hollow eye and wrinkled brow

    An age of poverty; from which ling'ring penance

    Of such misery doth she cut me off.

    Commend me to your honorable wife;

    Tell her the process of Antonio's end;

    Say how I lov'd you; speak me fair in death;

    And, when the tale is told, bid her be judge

    Whether Bassanio had not once a love.

    Repent but you that you shall lose your friend,

    And he repents not that he pays your debt;

    For if the Jew do cut but deep enough,

    I'll pay it instantly with all my heart.

  BASSANIO: Antonio, I am married to a wife

    Which is as dear to me as life itself;

    But life itself, my wife, and all the world,

    Are not with me esteem'd above thy life;

    I would lose all, ay, sacrifice them all

    Here to this devil, to deliver you.

  PORTIA: Your wife would give you little thanks for that,

    If she were by to hear you make the offer.

  GRATIANO: I have a wife who I protest I love;

    I would she were in heaven, so she could

    Entreat some power to change this currish Jew.

  NERISSA: 'Tis well you offer it behind her back;

    The wish would make else an unquiet house.

  SHYLOCK:  [Aside]  These be the Christian husbands! I have a

    daughter—

    Would any of the stock of Barrabas

    Had been her husband, rather than a Christian!—

    We trifle time; I pray thee pursue sentence.

  PORTIA: A pound of that same merchant's flesh is thine.

    The court awards it and the law doth give it.

  SHYLOCK: Most rightful judge!

  PORTIA: And you must cut this flesh from off his breast.

    The law allows it and the court awards it.

  SHYLOCK: Most learned judge! A sentence! Come, prepare.

  PORTIA: Tarry a little; there is something else.

    This bond doth give thee here no jot of blood:

    The words expressly are 'a pound of flesh.'

    Take then thy bond, take thou thy pound of flesh;

    But, in the cutting it, if thou dost shed

    One drop of Christian blood, thy lands and goods

    Are, by the laws of Venice, confiscate

    Unto the state of Venice.

  GRATIANO: O upright judge! Mark, Jew. O learned judge!

  SHYLOCK: Is that the law?

  PORTIA: Thyself shalt see the act;

    For, as thou urgest justice, be assur'd

    Thou shalt have justice, more than thou desir'st.

  GRATIANO: O learned judge! Mark, Jew. A learned judge!

  SHYLOCK: I take this offer then: pay the bond thrice,

    And let the Christian go.

  BASSANIO: Here is the money.

  PORTIA: Soft!

    The Jew shall have all justice. Soft! No haste.

    He shall have nothing but the penalty.

  GRATIANO: O Jew! an upright judge, a learned judge!

  PORTIA: Therefore, prepare thee to cut off the flesh.

    Shed thou no blood, nor cut thou less nor more

    But just a pound of flesh; if thou tak'st more

    Or less than a just pound—be it but so much

    As makes it light or heavy in the substance,

    Or the division of the twentieth part

    Of one poor scruple; nay, if the scale do turn

    But in the estimation of a hair—

    Thou diest, and all thy goods are confiscate.

What is meant by the underlined selection?