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- W1971724927 abstract "When she disguises herself as a young doctor of the law during the trial scene of The Merchant of Venice, Portia takes the name Balthazar, the name of the youngest Magus to visit the Christ child, a Magus conventionally represented as African. It is also the name of her trusted servant who, because of his name, is possibly African as well. 1 Portia's selection of this particular name can help specify some of the associations her crossdressing might possess for a sixteenth-century English audience. In particular, Balthazar supports an interpretation in which crossdressing is seen as generally analogous to racial darkening, and gender difference as analogous to racial difference. 2 In the argument that follows, I will pursue the implications of a further determinant of Portia's identity—Italianness—for her figuration here, for the figuration of countless other characters in English Renaissance drama portrayed, like Portia, by English actors, and, indeed, for the self-figuration of several generations of English poets." @default.
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- W1971724927 date "2003-01-01" @default.
- W1971724927 modified "2023-10-17" @default.
- W1971724927 title "Black Beauties, White Devils: The English Italian in Milton and Webster" @default.
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- W1971724927 doi "https://doi.org/10.1353/elh.2003.0024" @default.
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