In The Jew of Venice, Granville takes up and refutes the main "subversions" of the Merchant of Venice that modern and postmodern critics have imposed on the work. Without its supposed contradictions, the work has a strict formalist structural unity, focuses on an essentialist Platonic idea, and, resolving all conflicts, ends with a conclusion. On the subject of Antonio's sadness, Granville takes a clue that, to my knowledge, no modern critic has noticed. In his "methodization" process, he moved Antonio's opening line - "I don't know why I'm so sad" - to Bassan-io's banquet, between the toasts and the masquerade, and merged it with the fifth act of Jessica, apprehensive: -"I'm never happy when I listen to sweet music" (5.1.69). Listening to the music at his friend's party, Antonio de Granville laments, O Bassanio! There's a heaviness on my heart That wine can't remove: I don't know But music never makes me like this. (2.2.35-38) Lorenzo's comforting response to Jessica in act 5 of Shakespeare's play then becomes Bassanio's comforting response in act 2 of Antonio de Granville: The reason is that thy spirits beware:&nb ...... half of the sheet .. .... spoils." In The Jew of Venice, Granville, who resides in the same moral community as Shakespeare, takes up and refutes the main "subversions", "leaks" , "interrogations" and "dark shadows" of the Merchant of Venice. that modern and postmodern critics, working from what I believe are irrelevant postcapitalist prejudices, have imposed on the work. Without its supposed contradictions, the work has a strict formalist structural unity, focuses on an essentialist Platonic idea and resolves all conflicts, ends with inclusion. Unless there are reasons other than those commonly given for claiming that The Merchant of Venice is "multivalent and" plural" in meaning, we will have to assume, at least for the moment, that it is not..