Books > Language & Literature > Literature: history & criticism > Plays & playwrights > 16th to 18th centuries > Shakespeare studies & criticism
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A Fury in the Words - Love and Embarrassment in Shakespeare's Venice (Hardcover)
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A Fury in the Words - Love and Embarrassment in Shakespeare's Venice (Hardcover)
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Total price: R2,461
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Shakespeare's two Venetian plays are dominated by the discourse of
embarrassment. The Merchant of Venice is a comedy of embarrassment,
and Othello is a tragedy of embarrassment. This nomenclature is
admittedly anachronistic, because the term "embarrassment" didn't
enter the language until the late seventeenth century. To embarrass
is to make someone feel awkward or uncomfortable, humiliated or
ashamed. Such feelings may respond to specific acts of criticism,
blame, or accusation. "To embarrass" is literally to "embar": to
put up a barrier or deny access. The bar of embarrassment may be
raised by unpleasant experiences. It may also be raised when people
are denied access to things, persons, and states of being they
desire or to which they feel entitled. The Venetian plays represent
embarrassment not merely as a condition but as a weapon and as the
wound the weapon inflicts. Characters in The Merchant of Venice and
Othello devote their energies to embarrassing one another. But even
when the weapon is sheathed, it makes its presence felt, as when
Desdemona means to praise Othello and express her love for him: "I
saw Othello's visage in his mind" (1.3.253). This suggests, among
other things, that she didn't see it in his face.
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