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Cosmetics in Shakespearean and Renaissance Drama$
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Farah Karim-Cooper

Print publication date: 2006

Print ISBN-13: 9780748619931

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748619931.001.0001

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‘Deceived with ornament’: Shakespeare’s Venice

‘Deceived with ornament’: Shakespeare’s Venice

Chapter:
(p.152) Chapter 7 ‘Deceived with ornament’: Shakespeare’s Venice
Source:
Cosmetics in Shakespearean and Renaissance Drama
Author(s):

Farah Karim-Cooper

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748619931.003.0007

Venice was an influential centre for trade, due primarily to its fortunate global positioning. The cosmetics industry of Venice signified for English dramatists the alluring captivation of the world's gaze. Cosmetics were significant in the formation of English perceptions of Venetian women, courtesans and the stage presence of Venice itself. Shakespeare's use of cosmetic signifiers in The Merchant of Venice and Othello is described. The handkerchief in Othello registered female chastity, sexuality, beauty and history. Thus far on the Shakespearean stage, boys paint to play ladies and twins; rude mechanicals paint to play walls; cosmetic ingredients appear in the form of caskets; and blackness is given a moral value through the contradictory image of two boy actors – one white, one black – who turn out to be equally tragic figures.

Keywords:   Venice, Shakespeare, cosmetic signifiers, Merchant of Venice, Othello, cosmetics

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