Mercifixion in The merchant of Venice: the riches of embarrassment -- Introduction -- Negotiating the bond -- Antonio's blues -- Curiositas: the two Sallies -- Negative usury and the arts of embarrassment -- Negative usury: Portia's ring trick -- Portia the embarrasser -- The archery of embarrassment -- The first Jason -- A note on verse and prose in Act 1 -- Another Jason -- Portia cheating -- Portia's hair -- The siege of Belmont -- Covinous casketeers -- Moonlit maundering -- Coigns of vantage -- Standing for judgment -- Standing for sacrifice -- "Here is the money": Bassanio in the bond market -- Twilight in Belmont: Portia's ring cycle -- Death in Venice -- Three's company: contaminated intimacy in Othello. Prehistory in Othello -- Othello's embarrassment in 1.2 and 1.3 -- The proclamation scenes: Act 2 scenes 2 and 3 -- Desdemona on Cyprus: Act 2 scene 1 -- Dark triangles in 3.3 -- Desdemona's greedy ear -- Impertinent trifling: Desdemona's handkerchief -- The Emilian trail -- Iago's soliloquies -- Othello's endgame -- The fury in her words.
Summary:
"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."--Publisher's website.
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