What are some biblical or mythological references in The Merchant of Venice?

Back in Belmont, the place of love contrasted with the sordid business arena of Venice, Lorenzo and Jessica make three mythological references in act 5, scene 1. The evening is beautiful, and they liken themselves to famous lovers (though, ironically and humorously, lovers from love stories in which events did not turn out well) from classical literature: Troilus and Cressida, Pyramus and Thisbe, and Dido and Aeneas.
Not surprisingly, many biblical references occur in the play. For example, when Portia says the quality of mercy is not strained (overused), she is appealing to a Christian audience's sense that the qualities of mercy and forgiveness, which are highly praised in the New Testament, superseded and became more important than the Jewish emphasis on justice. Shylock distorts the Jewish concept of justice in his demand for a pound of flesh from Antonio.
Launcelot quotes from the biblical prophet Ezekiel in act 3, scene 5, telling Jessica that:

Yes, truly, for look you, the sins of the father are to be laid upon the children.

This is to help persuade her to marry him so that the "sin" of being Jewish is not laid upon her: as the wife of a Christian, it will be easy for Jessica to convert.
These references just scratch the surface of what can be found by reading the play.

Many allusions to the Bible and to various mythologies appear in Shakespeare's works, and The Merchant of Venice is no exception.
In act 1, scene 3, when Bassanio invites Shylock to join them for a meal, Shylock says, "Yes, to smell pork; to eat of the habitation which your prophet the Nazarite conjured the devil into. I will buy with you, sell with you, talk with you, walk with you, and so following, but I will not eat with you, drink with you, nor pray with you." In Matthew 8:28–34, Jesus casts demons out of two possessed men and into a nearby herd of swine (pigs), who then charge to the water and drown. Shylock is a caricature (often offensive) of a Jewish man, and he is referencing this moment to indicate that he disapproves of the food they eat and their Christian lives generally; it signals that he is different from them and that there is little trust between them. Additionally, the Jewish Bible or Tanakh (what Christians refer to as "the Old Testament") dictates that eating pork is forbidden.
In act 2, scene 5, Shylock asks Jessica, "What says that fool of Hagar's offspring, ha?" He is referring to Launcelot and insulting him by comparing him to the biblical figure of Ishmael, son of the Abraham by his wife Sarah's handmaiden, Hagar. According to the Bible, Abraham's son by Sarah, Isaac, is a father of the Jewish people, while Ishmael is an outcast, sent away when Sarah disapproves of him. However, Shylock doesn't know Launcelot is encouraging Jessica's relationship with Lorenzo; he is more important than Shylock assumes. Similarly, Ishmael, while sent away by Sarah, lives and also becomes a father to a nation.
In act 3, scene 2, there are several references to Greek and Roman mythology in Bassanio's monologue as he chooses between the three caskets. He refers to the gold casket as "gaudy gold, hard food for Midas," referring to the Greek myth of King Midas, who turned everything he touched to gold. Midas accidentally turns his daughter to gold with this "gift," which shows itself to be more like a curse; Bassanio is indicating his distaste for the gold casket and his reasons for not picking it. He also refers to the beards of Hercules, a Greek hero, and Mars, the Roman name for the Greek Ares, the god of war, saying, "How many cowards, whose hearts are all as false/As stairs of sand, wear yet upon their chins/The beards of Hercules and frowning Mars; Who, inward search'd, have livers white as milk." This also emphasizes his reasons for not picking the flashy caskets, indicating that value does not lie in appearances—that some men might look like brave heroes and gods but not behave like them.
http://shakespeare.mit.edu/merchant/full.html