Othello, colour, race and prejudice, as they manifest in the play

8/9/2019 Othello, colour, race and prejudice, as they manifest in the play

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National and Kapodistrian University of Athens

School of Philosophy

Faculty of English Studies

William Shakespeare (6 th Semester)

Associate Professor Marianthi Yianni

OTHELLO Colour, Race and Prejudice,as they manifest in the play.

Alexander-Michael Hadjilyra (99362)


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Othello: Colour, Race and Prejudice.

Alexander-Michael Hadjilyra, June 2005 1

Preface

William Shakespeare wrote Othello around 1602-1604 - right afterHamlet and beforeKing Lear-, drawing upon Giraldi Cinthio’sHecatommithi1. The first performance tookplace in the Banqueting House, Whitehall at Hallowmass, in November 1604, for thepleasure of King James I. Later performances were held at the Globe Theatre, but itwas not published until 1622 and 16232. The play initially takes place in Venice and,from Act II onwards in Famagusta3, Cyprus - one of the richest cities in the mediaevalworld, a powerful harbour in the Levant. Legend has it that the Venetian governor ofCyprus, Christoforo Moro (1506-1508), whose surname means “Moor” (aMauritanian), killed his wife Desdemona in a fit of jealous rage in Famagusta.Othello’s name is Shakespeare’s coinage, based on Ben Johnson’s Thorello inEveryMan in his Humour (London, 1598). The only gross discrepancy between Shakespeare’sOthello and the actual facts has to do with Othello’s colour: Christoforo Moro was notblack. The issue of blackness and the dramatic emphasis placed on the racialdifference between Othello and the other characters of the play constitutes a grossincongruity between Shakespeare’s Othello and Cinthio’s tale, in which Othello is alsoblack.

Introduction

Othello is a masterpiece of dramaturgy and a jewel amongst classicalmasterpieces, both in terms of language and in terms of philosophical ideasembedded into the play, unfurled one by one, entangled with each other, asthe plot gradually unfolds. The story of Othello is the account of a love affairthat was born, grown and tragically terminated, surrounded and attacked by asociety that not only condemned its occurrence, but also envied its existence -unable to grasp the reasons for its presence. Yet, at the same time, the verysociety that loathed this affair perpetuated the presence of such “aliens”

1. Giovanni Battista Giraldi (1504-1573) was a University professor, a poet, a novelist and a dramatist.His academic name, Cynthius, appears frequently in various forms: Cinzio, Cintio, or Cinthio.Hecatommithi (100 tales) was published in 1565 and actually contained 112 stories. The story of theVenetian Moor appears in Decade 3, Story 7. Although the book was not translated in English until1753, it was translated into French in 1584, by Gabriel Chappuys. It is interesting that, in Giraldi’sstory, only Desdemona is mentioned by her name (meaning “the unfortunate one” in Greek).2. The first edition (Q1) was longer than the second edition (F1), which was printed in Folio. A newQuarto edition came out in 1630 (Q2). The first edition has over a thousand differences in wordingsand about 160-170 lines less, suggesting that Shakespeare must have revised his play for the secondedition, adding Desdemona’s Willow song and further developing Emilia’s role in the closing scenesand her interrelationship with Desdemona.3. The stage directions only mention “A sea-port in Cyprus”. With the exception of Famagusta, allother maritime cities in Cyprus (Kyrenia, Larnaca, Limassol and Paphos) have a mediaeval castle, yetnone of them has a citadel, which is mentioned five times in the play; it would be highly unlikely thatthe General of Cyprus would dwell in an unfortified city (only Nicosia and Famagusta havefortifications); it is also known that Famagusta had reached its climax of fame through trade,commerce industry, arts and crafts; Famagusta’s citadel is also called “Othello tower”. All these pointto Famagusta as being the locus of the play.


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within the Republic, allowing them to ascend up to the highest ranks of theVenetian military, a bizarre dichotomy itself.

The most striking and readily recognisable feature of Othello is that it is a playcharacterised and understood only within a framework of ubiquitous

antitheses and juxtapositions. One cannot possibly begin to attemptinterpreting the issues raised in the play outside this duality matrix, outsidethe ubiquity of this surreptitiously well-entrenched and firmly establishedintolerance for the other, both in terms of race and colour. The play is,simultaneously, about black pride and white supremacy, and vice versa. It is aplay about a domestic tragedy (as opposed to a state tragedy, such as Macbeth)and about common people. Instead of becoming a comedy, Shakespeare hasmasterly constructed it into an intense and profound psychological drama.

Othello’s colour and race

Othello is undoubtedly not a Caucasian. We arrive at this conclusion byreading the title and by exploring the lines of the tragedy. So, the questionarising pertains to Othello’s race and colour. Was Othello a Negro or an Arab?Unfortunately, nobody can accurately answer this question, but Shakespearehimself, and he has unfortunately departed this life nearly four centuries ago.

Throughout his works, Shakespeare uses the word “black” to mean eitherbrunette or dark-complexioned, as denigration. Although modern readers mayinstantaneously deduce 4 that Othello was a Negro, his appellation “The Moor”and other references 5 to him may equally well allow us to visualise him as anArab. Towards the end of Othello’s heroic speech, he parallels himself with“the Arabian trees ” (5.2.346 ). And not to disregard Iago’s little misleading joke ofOthello’s demotion or even the very cornerstone 6 of his exploitation, jealousy.When Iago deliberately misinforms Roderigo that Othello will be demoted andhis post will be assigned to Cassio, it is Mauritania he chooses as the imaginarylocation Othello will return to (4.2.221-224 ).

The average English spectator, during the time Othello was originallyperformed, had had numerous encounters with African slaves in the streets of

4. Apart from the prevalent and extensive reference to Othello as being black, instances such as “Whata full fortune does the thick-lips owe, if he can carry it thus! ” (1.1.67-68 ), or “ Run from her guardage to the sootybosom of such a thing as thou ” (1.2.70-71 ) validate that theory.5. Iago says to Brabantio: “ You ’ ll have your daughter covered with a Barbary horse ” (1.1.111-112 ). Such areference would, without a doubt, lead the audience to envision Othello as an Arabian steed!Furthermore, when he scornfully speaks of Othello as being “ an erring barbarian ” (1.3.350 ), he uses theexact term that the Queen’s courtiers used to refer to Abd el-Quahed and his escorts. 6. North African races were popularly associated with extravagant jealousy, especially within wedlock.Leo Africanus in his Geographical Historie of Africa , translated into English by John Pory (London,1600), mentions that: “ No nation in the world is so subject unto jealousy; for they will rather losetheir lives than put up any disgrace in the behalf of their women ”.


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London7, while part of the knowledge about Africa came from a number ofbooks about the Dark Continent, such as Mandeville’s Travels by JohnMandeville (London, c. 1371),Decades by Richard Eden (London, 1555) andPrincipal Navigationsby Richard Hakluyt (1589). Although all Africans wereinitially considered to be equally black, regardless of their geographic location,

it later became apparent that there were various degrees of blackness,depending on race and location. George Abbott, in A Brief Description of theWhole World(London, 1599) separated “blackish Moors”from “exceedingly blackNegroes … than whom no men are blacker ”. Leo Africanus also pointed out thedifference between Mediterranean “ white or tawny Moors” and southern“Negroes or black Moors”.

Shakespeare, no doubt, was well aware of that: the stage directions of TheMerchant of Venice (Act 2, Scene 1) describe the Prince of Morocco - a suitor for

Portia - as “a tawny Moor all in white”. Apart from Othello, however, the onlyother Moor in Shakespeare’s works is actually a Negro: He is Aaron, the villainin Titus Andronicus, with a fleece of a woolly-hair, a thick-lipped “coal-blackMoor ” (3.2.78), his colour compared with that of a raven and a swan’s legs.

Innumerable philologists, dramatists and other experts have attempted to “de-code” Othello’s genetic identity. However, there is a school of thoughtasserting that what Shakespeare did was to combine the many descriptions ofAfrica, thus constructing a character that was not a member of a particularsociety, but a composite “African”, a synthesis of Leo Africanus’ description ofboth “tawny” and “black” Moors, thus escaping a common negativestereotype. And, given Shakespeare’s mentality, the possibility of such a“trick” should not be ruled out.

A consensus will perhaps never be reached, it is interesting however toobserve that the critics who have found Othello to be a noble hero are oftenthe same ones who declare that he is a pale-skinned Arab, while those whothink that his actions are beastly and are the outcome of unjustified rage, arealso the ones who insist that he was a black African.

Othello: The Moor of Venice

Othello is a black man in a white society; a soldier amongst civilians; a knightamongst mercenaries; a follower of genuine love amidst people who mocklove’s omnipotence or prostitute it. Privileged himself, Othello firmly believes

7. Queen Elizabeth I herself was “ discontented at the great numbers of Negars and blackmoors whichare crept into the realm ”, and demanded that they be ousted and returned to Spain and Portugal,although between August 1600 and February 1601, a few months before she issued that decree, shehosted a 16-member delegation from Barbary, led by Abd el-Quahed. Needless to say, their presenceand manners immediately caught the attention of most Londoners - including Shakespeare himself.


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in equal opportunities and meritocracy, the moment that almost everyone elsein the play pursuits his or her own personal gain. He is the embodiment ofvirtue and love, gallantry and affection, bravery and resourcefulness. Hadthere not been Iago’s vituperative manipulation 8, Othello would have nevercommitted the ultimate sin, a crime driven not by jealousy and fury - as many

would superficially presume - but a crime driven by his loss of purpose in life.Desdemona is everything for Othello. Without her, he has nothing to pursue,nothing to draw upon, he is nothing9. Even Iago, admits that “The Moor, howbeitthat I endure him not, is of a constant, loving, noble nature; and I dare think he’llprove to Desdemona a most dear husband ” (2.1.277-280 ). Othello’s fixation withDesdemona, who has become his purpose in life, becomes egregiouslyapparent when Othello says - amidst a number of other farewells: “Farewell!Othello’s occupation’s gone! ” (3.3.358 ).

Similarly to our present society, the Venetian society, however progressiveand tolerant, raises or lowers barriers, directly related to colour, religion,ethnic origins etc., always depending on the situation. The Republic of Venice,multicultural by necessity, is primarily defined as the bulwark of Christianity,the defender of the Christian faith, in a sea and vicinity whose religiousadherence and ‘civility’ are threatened by the impending and enduringOttoman threat. Christians were considered to be the elite of the cosmopolitanVenetian society and were generically considered the civilised part of theworld. White in colour, fair - with all intended meanings -, and just, they are juxtaposed to any non-Christian and/or any dark-skinned individual.

The Ottomite (Ottoman) threat to Cyprus is overtly stated a number of times,throughout the play, with at least five references to the Turkish fleet. It is thisthreat that has brought Othello in Cyprus (“ The Turk with a most mightypreparation makes for Cyprus ” 1.3.219-220 ), and it is this threat that expedites theplot, for Othello is summoned back to Venice on such a short notice by thearrival of Lodovico, presumably to discuss the further deployment of theVenetian fleet around Cyprus and the eastern Mediterranean. The Duke ofVenice and the Senate “consider the importancy of Cyprus to the Turk ” as “that asit more concerns the Turk than Rhodes ” (1.3.19-20, 22 ) and, fearing the worse,

8. Iago’s motives are indeed obscure: One may initially support that Iago’s motive resides on hisbitterness for not being selected as Othello’s lieutenant; or, perhaps, that his hatred towards Othellohas racial grounds. But, as we see later on, it appears as if Iago is possessed by motivelessmalignancy, so eloquently manifested in 2.3.338-340 : “ So will I turn her [Desdemona’s] virtue into pitch,and out of her own goodness make the net that shall enmesh them all ”. Nevertheless, Iago - evil or not - knewhow to exploit Othello’s weakness: jealousy and naïveté, gullibility and inability to discern truth fromplausible lie.9. We have a premonition of that in 3.3.90-91 : “Perdition catch my soul, but I do love thee; and when I lovethee not, Chaos is come again ”, alluding to Doomsday. And even before that, when Othello is warned byBrabantio that “ She has deceiv ’ d her father and may thee ”, he responds “ My life upon her faith! ” (1.3.290,291 ).


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announce to Othello: “Valiant Othello, we must straight employ you against thegeneral enemy Ottoman ” (1.3.48-49 ).

Othello, it seems, has been carefully chosen for the station he maintains,precisely because he is considered a third party: ethnically, he is not a

Venetian and, apparently, there was even a law designating that the General ofthe Army should be appointed by the Senate, and he should always be foreignborn. Perhaps this law was formulated because Venice sought to promoteunity within the high-ranking military officers, as well as to promote allianceswith other city-states, such as Florence or Genoa. Under this spectrum -Florentine’s Cassio and Venetian’s Iago dispute, regarding whom shouldOthello choose as the second-in-command, seems perfectly equal: SinceCassio’s origin makes him no less equal to Iago, each man’s candidacy is judgedsolely on grounds of meritocracy and military value10. Unlike the English

audience, for Cinthio and his readers, there is nothing remarkable about thespectacle of a foreign commander of Italian forces.

So, it seems that, although black and a foreigner, Othello is perfectly suited forhis task, and he is equally acceptable by his political superiors. Not even Iagoantagonises Othello’s supremacy as his commanding officer. Brabantio himselfadmires Othello for the bravery he exhibits and all the other virtues hepossesses. He has developed a cordial relationship11 with Othello, ofteninviting him for dinner to his house, considering him an honoured guest and adistinguished soldier, since Othello has earned the respect and valour he isinvested with. Brabantio, it seems, was quite happy to be acquainted withOthello purely as a military man who has done the state some service, but wasvigorously opposed to the possibility that his daughter, “a maid so tender, fairand happy ” (1.2.66 ) would marry Othello or even speak to him, for that matter.

It is only when Othello steps out of the role of the military servant andbecomes a lover, gaining the heart of his daughter, that he automatically raisesthe issue of race and colour, awakening all the suspended prejudices, so as toconvincingly attack Othello for being related to his daughter and, in theprocess, attempts to convince the other Senators of his ‘rightness’ (as a fatherand as a citizen of Venice). Brabantio is adamant, refusing to accept thatDesdemona, “in spite of nature, of years, of country, credit, everything ” was able “tofall in love with what she fear’d to look on! ” (1.3.96-97, 98 ).

10. Iago speaks of Cassio very scornfully: “ Forsooth, a great arithmetician, one Michael Cassio, a Florentine, afellow almost damn ’ d in a fair wife, that never set a squadron in the field, nor the devision of a battle knows morethan a spinster, unless the bookish theoric, wherein the toged consuls can propose as masterly as he ” (1.1.19-26 ).

However, given Iago’s lax relationship with truth, it is rather debatable whether we should accept hisdescription of Cassio as true.11. In the opening of his apology, Othello says: “ Her father [Brabantio] lov’ d me; oft invited me, stillquestion ’ d me the story of my life from year to year - the battles, sieges, fortunes that I have pass ’ d” (1.3.127-130 ).


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Within this highly prejudiced mentality he exhibits, and given the - often real- superstition that black men are associated with witchcraft, Brabantio fears(or, perhaps, hopes?) that Othello has bewitched 12 his daughter. Brabantio israving “Ay, to me. She is abus’d, stol’n from me, and corrupted by spells andmedicines bought of mountebanks; for nature so preposterously to err, being not

deficient, blind, or lame of sense, sans witchcraft could not ” (1.3.60-64 ), and goes onby overtly accusing Othello: “thou hast practis’d on her with foul charms, abus’dher delicate youth with drugs or minerals that weakens motion ” (1.3.73-75 ), only tobe confronted with a much simpler true: “She lov’d me for the dangers I hadpass’d, and I lov’d her that she did pity them. This only is the witchcraft I have us’d ”(1.3.166-168 ).

The Duke is very supportive of Othello and his stories: “I think this tale wouldwin my daughter too ” (1.3.170) and, attempting to ameliorate the situation, he

pleads with “Good Brabantio ” to “take up this mangled matter at the best ”(1.3.171). He needs Othello for the battle in Cyprus; he cannot afford to offendhim or insult him, and he calls him by his name, a sign of respect, many times.What lingers in our minds is the Duke’s reaction if, other things being equal,the Republic did not depend on Othello to protect Cyprus, being a brilliantmilitary tactician and a charismatic person. And, of course, one cannot helpbut wonder, how would the Duke of Venice react, the very same Duke whoapproved the union of Othello and Desdemona before the Senate, by assuringBrabantio that his “son −in−law is far more fair than black ” (1.3.287 ), if it was his

daughter the one to “fall in love with what she’d fear to look on

” (1.3.98

)!

A Christianised Othello?

Othello is, in all probability, a Christian himself. Enquiring about the fracasthat happened during the day the soldiers were allowed to feast until 11 p.m.,he rhetorically says: “Are we turn’d Turks, and to ourselves do that which heavenhath forbid the Ottomites? For Christian shame, put by this barbarous brawl ”(2.3.154-156 ). Later on, Iago, conversing with Cassio, tells him: “for her

[Desdemona] to win the Moor, were’t to renounce his baptism, all seals andsymbols of redeemed sin ” (2.3.320-322 ). Othello himself makes a number ofreferences to heaven and hell, the two polarised states of life after death, inwhich he firmly believes. After all, it is rather debatable whether a Muslim

12. Brabantio, speaking to Othello in front of the Senate, says: “ Damn ’ d as thou art, thou hast enchantedher, for I ’ ll refer me to all things of sense, if she in chains of magic were not bound ” (1.2.63-65 ), and later adds:

“I therefore apprehend and do attach thee for an abuser of the world, a practiser of arts inhibited and out of warrant ” (1.2.77-79 ). In the next scene, he repeats his accusations of Othello having cast a spell on

Desdemona, for her love for Othello, “ against all rules of nature ”, can be reasonably accounted for only if “[she] must be driven to find out practices of cunning hell ” (1.3.101-102 ). So convinced he is of this theorythat insists: “ I therefore vouch again that with some mixtures powerful o ’ er the blood, or with some dramconjured to this effect he [Othello] wrought upon her ” (1.3.103-106 ).


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would be allowed to hold a position of nobility in a Christian society, especiallya society whose primary foe was Muslim.

Othello refers to Desdemona’s complexion resembling a cherub (4.2.62 ). In hisverbal attack on Desdemona, Othello tells Desdemona: “You, mistress, that have

the office opposite to Saint Peter, and keeps the gate of hell! ” (4.2.89-91 ), areminiscence of Proverbs 7: 7 (Her [the harlot’s] house is the way to hell, goingdown unto the chambers of death). When Othello enters the bedchamber ofDesdemona and faces her, virtuously slumbering in her bed, he declines herinvitation to come to bed by asking her: “Have you pray’d tonight, Desdemon? ”(5.2.25 ) and urges her: “if you bethink yourself of any crime unreconcile’d as yet toheaven and grace, solicit for it straight ” (5.2.27-28 ). Desdemona asks him what hemeans and he persists: “Well, do it, and be brief: I will walk by: I would not kill thyunprepared spirit: No − heaven forfend! − I would not kill thy soul ” (5.2.30-32 ). All

these, along with his “Amen, with all my heart! ” (5.2.34 ) indicate a strong faith inGod on behalf of Othello and an equally strong esperance of life after death13.

In his last utterance, Othello - stabbing himself - says: “I took by th’throat thecircumcised dog, and smote him, thus ” (5.2.351-352 ). Such a reference, although itis himself who stabs, clearly indicates a Christian-oriented stance towards the“Muslim infidels”. Interesting is Othello’s highly discriminative description of“the circumcised dog ”: he describes him as “a malignant and turban’d Turk ”(5.2.349 ), a sign of intolerance for Turkish religious attire. However, one could

argue that, precisely because it is himself whom Othello parallels with “thecircumcised dog ”, he has come to think of himself as unworthy of Grace and,eventually, as an outcast. And indeed, being a Moor, he could very well beperceived as being a Muslim or a pagan. At any rate, a marriage between abaptised Christian and an infidel was not only forbidden, but also inoperable.His colour, though, overrides and circumvents his faith and loyalty, even hisnoble ancestry “from men of royal siege ” (1.2.22).

We are given little hints that Othello was a converted Christian, by his

references to the pagan gods of the Romans. Although these references werecommon in Shakespeare’s time, especially in reference to imaginarymonstrous entities 14, it is interesting that almost no other character in Othello uses them15, except for Othello himself: he speaks of Desdemona’s “name, that

13. A quintessential dogmatic difference between Catholicism and Protestantism is that Catholicsbelieve in Purgatory, while Protestants do not. Othello seems to retain hope that Desdemona’s soulmay redeem itself in Purgatory. Shakespeare, allegedly Catholic himself, uses a ghost from CatholicPurgatory as Hamlet’s father in Hamlet (1.5.9-17).14. Cassio makes such a reference, to parallel his desperate need to be restored in Othello’s conscious(and, consequently, in his previous position). It is found in 2.3.283-285 : “I will ask him for my place again;he shall tell me I am a drunkard. Had I as many mouths as Hydra, such an answer would stop them all ”.15. Iago, appropriately, swears “ By Janus ” once ( 1.2.33 ) to respond to Othello. It is blatantly obviousthat Shakespeare chooses Janus [the Roman god of beginnings (January owes its name to him),doors, archways and gateways] as the God whom Iago swears on, because Janus was artistically


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was as fresh as Dian’s visage ” (3.3.387-388 ), and invokes the “mortal engines,whose rude throats th’immortal Jove’s dread clamours counterfeit (3.3.356-357 ). Indesperation, he confesses to Desdemona: “I know not where is that Prometheanheat that can thy light relume ” (5.2.12-13).

What Othello is called

The use, or lack thereof, of Othello’s name is important, for a number ofreasons. Calling someone by their name is a sign of respect, while calling themutilising a racial name constitutes a rather discriminative naming act.Depending on their attitude towards Othello and the amount of racial hostilityeach character professes against Othello, different characters in the play usedifferent ways and words to address him, or refer to him.

Brabantio never calls or refers to Othello by his name, he only refers to him as“(the) Moor ”, four times. Roderigo refers to Othello by his name only once(4.2.219 ), while he generally prefers to refer to him as “the thick −lips” (1.1.67), “alascivious Moor ” (1.1.126), or “the Moor ” (1.2.56 ).

Iago calls or refers to Othello by his name seven times, most of which areeither asides or part of conversations with Montano and Cassio, both of whichdeeply appreciate Othello. Exiting the Sagittary (the Inn Othello andDesdemona have lodged in), Iago tells Othello: “Come, captain ” (1.2.53). In aconversation with Cassio, he refers to him as “our general ” (2.3.13-14 ), while healso calls him “(the) general ” (2.3.152, 255, 294-295; 3.3.335; 4.1.59 ). Iago also uses“black Othello ” (2.3.28 ) to emphasise Othello’s otherness. And, of course, hecalls him “my good lord ” (3.2.4 ), “dear my lord ” (3.3.157), “my noble lord ” (3.3.92,368 ), “my lord” (many other times) - every single time occurring in front ofOthello, obviously to gain his trust and show his unbound “loyalty”.

However, these are the exception of the rule - Iago favours calling Othello witha number of highly racial and vulgar instances behind his back. He scornfullyrefers to Cassio as being “his Moorship’s ancient ” (1.1.33); he suspects “the lustyMoor ” (2.2.284 ) of having copulated with his wife, Emilia; he sees him as “thedevil” four times, alluding to his black colour - something which Iago is clearlyobsessed with; he envisions him as “an old black ram ” (1.1.89), “a Barbary horse ”(1.1.112) and “an erring Barbarian ” (1.3.350 ), underlining Othello’s dangeroussexuality and his vagabond life; and, he generally refers to him as “the Moor ”26 times, in total.

represented with two opposite faces, each gazing in opposite directions. And when Iago tells Cassio of

Desdemona that “ she is sport for Jove ” (2.3.16 ), he does that only to express his base sexual fixation,which is further elaborated two lines below, when he says “ And, I ’ ll warrant her full of game ”. Jupiter(Jove) was renowned for his sexual adventures, some of which included bestialities and, perhaps, thatis why Cassio evokes his name to guard Othello ( 2.1.77 ), being quite sexually active himself.


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Less racially charged characters address Othello by his name, or qualify theword “Moor” with an adjective.Cassio once refers to “the Moor ” (2.1.44 ), while afew lines later, he pleads: “Great Jove Othello guard ” (2.1.77). He also addresseshim as “(the) general ” (1.2.36; 3.4.187 ) and “dear general ” (5.2.296 ) and drinks to hishealth (2.3.75 ); talking to Desdemona, he expresses his fear: “my general willforget my love and service ” (3.3.18 ). The Duke of Venice calls Othello by hisname three times, while, addressing him, he uses “valiant Othello ” (1.3.48 ) as asalutation. The First Senator , upon Othello’s entry to the Senate, refers to himas “the valiant Moor ” (1.3.47) and urges him: “But, Othello, speak ” (1.3.110). UponOthello’s departure from the chambers of the Senate, he greets him “ Adieu,brave Moor ”, urging him to “use Desdemona well ” (1.3.288 ).

Lodovico is a very gracious man; although kinsman to Brabantio, he deeplyrespects Othello. He is perhaps one of the few characters in the play for whom

Othello’s colour does not seem to matter. Having arrived from Venice, headdresses Othello “worthy general ” (4.1.211), while he also calls him “my lord ”(4.1.226, 239, 249 ), and refers to his “lordship ” (4.1.245 ) - even when he slaps anddismisses Desdemona. Deeply disappointed, he switches to “the noble Moor ”appellation (4.1.262 ), while he later on calls him simply “sir” (4.3.1). The momentOthello grieves his iniquitous act (5.2.258-279 ), Lodovico enters searching for“this rash and most unfortunate man ” (5.2.280 ). When Iago is found to be theaccessory before the fact, Lodovico - clearly shaken and confused - turns toOthello and tells him: “O, thou Othello, that were once so good, fallen in thepractice of a damned slave, what shall be said to thee? ” (5.2.289-290 ). In the end,Lodovico instructs Gratiano to “seize upon the fortunes of the Moor ” (5.2.362 ).

Montano , Cyprus’ Governor, uses Othello’s name and racial appellationsinterchangeably: while he refers to him as “the noble Moor ” (2.3.124 ) or “theMoor ” (2.3.127; 5.2.238 ), he also refers to him as “(the) general ” (2.3.118; 5.2.167 ) and“brave Othello ” (2.1.38); in a conversation he has with some gentlemen and,reciprocating Othello’s “Worthy Montano ”, he calls Othello “Worthy Othello ” (2.3.174, 181). The moment he is informed of Desdemona’s strangling, he calls him

“notorious villain ” (5.2.237 ) and “a damned slave ” (5.2.241 ). Gratiano, Brabantio’sbrother, refers to Iago as being “Othello’s ancient ” (5.1.52), while he also informsus that he will “fetch the general’s surgeon ” (5.1.100) to operate on Cassio.

The numerous references to Othello as “the Moor ” (qualified or not) reduceOthello to a thing, a racial and social quasi-outcast of the Venetian Republic.Although everyone appreciates what Othello does for them and the services heoffers to the Republic, the continual reference to Othello as “the Moor” servesto remind the audience of Othello’s inability to truly become an integral part

of the Venetian society.


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Emilia’s outlook - Desdemona’s attitude

Many characters in the play exhibit some kind of racism towards Othello.Other than Brabantio, Iago and Roderigo, whose stance has been elaborated inthe quotes before and after these lines, it is interesting to observe Emilia’sattitude towards him, as well as Desdemona’s, a quite intriguing thing to do.

Emilia conveys some sort of misandry, as very aptly pointed in her own words:“They [men] are all but stomachs, and we all but food; to eat us hungerly, andwhen they are full, they belch us ” (3.4.98-100 ). As interesting as it would be tohear Emilia elaborating on her view of men, she is unfortunately interruptedby Iago’s and Cassio’s entrance. The suspense we have to see her clarify herobscure words is not satisfied until a few scenes later. Emilia is some sort of apre-feminist theoretician, as aptly pointed in her voicing of opinion in 4.3.84-85 : “But I do think it is their husbands’ faults if wives do fall ” and, even moreimportantly, in her justification of the wives’ sin. Yet, it is not her misandristicattitude we are interested in, or her feministic point of view, but her latentracism, which is not so different from modern people’s attitude towards theissue: many people today have a dormant form of racism within them, whichthey suspend, until a stimulus awakens it, unleashing their intimate thoughtson the matter.

Throughout the entire play, she has obeyed “ the Moor ” and her “lord ” mostmeekly. The only time she seems to actually respect his position is in anexchange with Cassio, when she speaks of “the general and his wife ” (3.1.42). Yet,the moment she discovers that her lady was murdered by Othello, shefrantically voices her previously unspoken sentiments, and she does that inthe most vicious of ways: “O, the more angel she, and you the blacker devil! (5.2.132 ), later bemoaning that “ She [Desdemona] was too fond of her most filthybargain ” (5.2.156 ), alluding to her marriage with a black man, which came atsuch a high price. The use of the adjective “filthy” has a dual meaning: theliteral relates to Othello’s appearance, while the metaphorical relates toOthello’s soul, which has now been identified with his colour, a mingling thatemerges a few lines later, when she accuses Othello of being “as ignorant asdirt” (5.2.163 ).

And, in an attempt to further denigrate him, she calls him “ dull Moor ” (5.2.223 )and “cruel Moor ” (5.2.247 ). Her indignation towards Othello calling Desdemonaa whore is so irresistibly intense, that she calls to his face “Thou dost belie her,and thou art a devil ” (5.2.134 ). All these quotes suggest that Emilia has alwaysthought of Othello as a black devil (in those days, devils were depicted black,

not red as they are today), which has now become blacker, as the immediateresult of the murder he has committed. And her words are most studiouslychosen, for she seems to serve here as the voice of the audience and her words


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convey the catharsis the audience seeks. It is as if her outburst allows theaudience to express its own anger towards Othello’s pernicious actions, alsobiased by his colour.

Desdemona, on the other hand, also seems to convey an even more subtle form

of racism. She is infatuated with Othello, not for his body, but for his mind andhis words. When the Duke of Venice asks Desdemona to procure her side of thestory, she replies, among others, that she “ saw Othello’s visage in his mind ”(1.3.249 ). This statement is rather obscure: in the absence of any reference toOthello’s body as being attractive to her, it is as if she subliminally recognisesthat Othello, being so different from her in a number of ways (as to his age,colour, race etc.), is perhaps not the best match she could get - in terms ofexternal appearance. She acknowledges that her father does have a point thatshe should fear to look on such blackness, realising herself that there is

something unnatural about her love for Othello.The subtle display of racism she exhibits is best manifested in the way sheaddresses and refers to Othello: She addresses him by his name (3.3.68 ); shecalls him “my dear Othello ” (2.1.176; 3.3.282 ) and “sweet Othello ” (4.1.237 ) and, anumber of times, “my (noble) lord ”. She refers to him by his name only once(3.4.157 ) in her prayer; in front of the Senate, she refers to him as “ the Moor ”(1.3.187, 245 ); conversing with Emilia, she caressingly tells her that “my nobleMoor is true of mind ” (3.4.22-23 ).

The ramification of this dual mode of reference serves to enlighten theaudience of Desdemona’s feelings: she does attempt to minimise his differencefrom the other characters; yet, his difference from all the other characters inthe play is so enormous, that even her own attempt fails.

Entrenched Stereotypes: Language

Language and culture seem to be closely interwoven: historically, the attitudesof a specific culture are encoded into its language and, even when a particularattitude or norm ceases to exist in the culture, it continues its presencefossilised in the language, thus creating a vicious circle. So, in a way, languageforms a culture’s attitude and vice versa. An excellent example would be theword “right”: prior to the capitalistic/liberal and communistic/socialisticideas, the word was there to indicate something “correct”. When thecommunists appeared, they were called “the left”, in juxtaposition to “theright” (the conservatives), for a very good reason: language mechanisms wereemployed by the conservatives to subliminally imbue a negative attitude


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towards the ones who held progressive ideas, the exact opposite of whathappened to the word “gay”16.

In this spectrum, we must meticulously and, perhaps, pedantically examinewhat we perceive as “racist” or “loaded” language, which in Shakespeare’s

time was, in some aspects, less or more discriminating, always depending onthe occasion. Long before black people were first seen by Europeans, theirlanguage was loaded against black17 and darkness, thus pre-possessing aspontaneous horror at the sight or the very thought of a black man. Thisbinary opposition between white and black - white representing purity andgoodness and black representing darkness and evil - is haunting us even today.It is not without reason that the Devil was depicted black in Mediaeval plays,nor why Iago speaks of the “devils [who] will the blackest sins put on ” (2.3.329 )and why Emilia calls Othello “the blacker devil ” (5.2.132 ). Othello, well aware of

the precariousness of his position, declares that, if Desdemona is proven a“haggard ”, he will “whistle her off and let her down the wind, to pray at fortune ”,by adding the famous “Haply, for I am black ” (3.3.264-265 ). It is as if he doubtshimself, on the grounds of his colour.

Black, being the colour of the Devil in Shakespeare’s time, immediately linksOthello with that image in Iago’s mind, who, associating Othello with “the devil[who] will make a grandsire of you ” (1.1.92), warns Brabantio. Iago raises thetaboo of miscegenation, as an extension of his blackness (which connotes to

the Devil) warning and announcing to Brabantio: “Your heart is burst; you have

lost half your soul ” (1.1.88). The binary opposition between white and black isonce more exploited by Iago when, using shepherds’ register, he tellsBrabantio that “an old black ram is tupping your white ewe ” (1.1.89-90 ), as if evildevours good. The Duke of Venice also exploits that contrast, in favour ofOthello this time, when he assures Brabantio that his “son −in−law is far more fairthan black ” (1.3.287 ).

When Iago tells Othello that he has seen the handkerchief he gave to

Desdemona in Cassio’s hands, wiping his beard with it (3.3.438-440

), Othelloagain, in his rage, employs a “black” stereotype in his speech, saying: “Arise,black vengeance, from thy hollow cell! ” (3.3.448 ), while some lines earlier, hedeplores Desdemona, for “her name, that was as fresh as Dian’s visage, is nowbegrim’d and black as mine own face ” (3.3.387-389 ).

16. The adjective “gay” was employed by groups of American homosexuals in 1953, in an effort topromote the idea they were a “happy” group and should, consequently, be embraced by the generalpublic. In the process, “gay” acquired the status of a noun, thus displacing both the meaning and useof the original adjective, which had been in the language since the 1325 (Middle English gai ).17. As described by the Oxford English Dictionary , the meaning of “black” before the 16 th centuryincluded: “deeply stained with dirt; soiled, dirty, foul; having dark or deadly purposes, malignant;pertaining to or involving death, deadly; baneful, disastrous, sinister; foul, iniquitous, atrocious,horrible, wicked; indicating disgraces, censure and liability to punishment”. Black was an emotionallypartisan colour, the handmaid and symbol of baseness and evil, a sign of danger and repulsion.


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Are we to say that Othello was a racist, exercising his racism against his ownself? Certainly not! To be free of racism, Shakespeare (or anyone, for thatmatter) would have to invent a new language with no loaded words, and nowords with colour discrimination, associating blackness with evil andwhiteness with good. Othello (and, by extension, Shakespeare) is bound to the

language he uses: he cannot do without a basic set of expressions thatnecessarily allude to goodness and badness via colour. The only way he couldavoid this, would be to invent his own expressions or use extravagantlyelaborate and analytical counterparts, both of which would be extremelythorny to verbalise and comprehend.

Entrenched Stereotypes: Society & Culture

The union of Othello and Desdemona is, from a number of perspectives and inthe mildest of words, uncommon and disproportionate 18: He is black and she iswhite, he is old and she is young, his past has been tumultuous, while hers hasbeen rose-covered, he has been in Africa and Europe and the Middle East,while all she knows is her father’s house. On top of that, she is a Venetiancitizen, while he is a foreign soldier, alien to Venice in so many different ways:through his colour, his race, his manners, even his own language19.

Desdemona often does not understand Othello, because of their disparatecultural backgrounds. She takes on the role of a traditional woman in Cyprusand her actions are often interpreted as the actions of an emancipated woman,something which Othello dislikes. Desdemona’s increased freedom and heraggressive promotion of Cassio allows Iago to cast aspersions on her. But thecultural differences between Desdemona and Othello are also great, in a moreintimate fashion. Desdemona fails to recognise Othello’s restlessness and,queried by Emilia if he is jealous, she naïvely responds: “Who, he? I think the sunwhere he was born drew all such humours from him ” (3.4.27 ). And indeed, theirlove is also diametrically dissimilar: Desdemona loves Othello for his heroicachievements, while Othello loves her for her irresistible physical beauty20.

18. Many fictional stories of such unions have been cinematised. Quite recently, there were two films:the Canadian “ My Big Fat Greek Wedding ” (2002) and the British “ Bend it like Beckham ” (2002). Inthe former, the issue has been highly dramatised: American Ian is not accepted by Toula’s Greekparents, on the grounds that he is a “ xeno ” (a foreigner). The latter film deals with a number of otherissues (such as racism, emancipation, male and female homosexuality, tradition Vs. progress), yet theissue of miscegenation is scraped in a rather latent, yet sharp fashion: Indian Jesminder is fully awarethat her orthodox Sikh family will have a hard time accepting Irish Joe, on the grounds that he is a

“gora ” (a white person). The most intriguing element that unites the two films is that, in both cases,it is the minority that ghettoises itself - the exact opposite of Othello’s situation.19. While speaking to the “ most potent, grave, and reverend signiors ” and his “ very noble and approv ’ d goodmasters ” (1.3.76-77 ), Othello humbly acknowledges his deficiency of language: “ Rude am I in my speech,and little bless ’ d with the soft phrase of peace ” (1.3.81-82 ). 20. Desdemona seems to be a divine figure, similar to Beatrice in Dante Alghieri’s The Divine Comedy ,or to Cordelia in William Shakespeare’s King Lear . All male characters speak of her, yet she speaks solittle. She seems to be surrounded by an aura of eroticism and an irresistible sexuality.


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Othello himself is fully aware of his “otherness”, which, in turn, makes thingsquite awkward for him. When Iago begins sowing the seed of doubt uponOthello, he gets to a point where he tells him: “Ay, there’s the point: as, to bebold with you, not to affect many proposed matches of her own clime, complexion,and degree, whereto we see in all things nature tends ” (3.3.230-233 ). Confronted

with a reality that he, himself, is very well aware of, Othello dismisses Iago,unable to respond: it is the crucial point at which Othello cracks. Yet, Iago hasperceived Othello’s shaken morale: he returns and continues his manipulation,to which Othello responds that if he discovers that Desdemona has beenunfaithful to him (“If I do prove her haggard ”, 3.3.262 ), he will reject her at once,“Haply for I am black and have not those soft parts of conversation thatchamberers have, or for I am declin’d into the vale of years ” (3.3.265-268 ) - aprofoundly discriminatory remark he makes on himself.

Iago speaks in such a generalised manner that, having already cast the seed ofdoubt upon Othello, Othello readily places himself within Iago’s equivocalstories, thus falling into his captious trap. Othello, desperate and possessed bythe “green −eyed monster which doth mock the meat it feeds on ” (3.3.168-169 )identifies his own self with “the cuckold [who] lives in bliss who certain of hisfate loves not his wronger ” (3.3.169-170 ). Iago, echoing Brabantio’s last words toOthello, reminds him that “She did deceive her father, marrying you; and whenshe seem’d to shake and fear your looks, she lov’d them most ” (3.3.208-210 ). Itseems that this utterance serves a dual purpose: on the one hand, it

strengthens the web of doubt Iago weaves around Othello’s and Desdemona’srelationship, but on the other hand - and that is its prominent function for thisessay - it reminds Othello of his otherness, thus denigrating him and makinghim feel, once more, an outsider who has intruded in Desdemona’s life.

Othello is deeply divided; his dilemma is so intense, that he admits he isemotionally paralysed: “my heart is turned to stone: I strike it and it hurts myhand ” (4.1.178-179). He has already pronounced that “I had rather be a toad, andlive upon the vapour of a dungeon, than keep a corner in the thing I love for others’uses ” (3.3.272-275 ), something which most men would have said. It is not onlyIago’s innuendoes that have led him to this state of mind, but also thecircumstances around the handkerchief 21, another ingenious manoeuvre ofIago, which - in turn - has placed Othello’s scepticism to the pinnacle of hisdisbelief towards Desdemona’s innocence: demanding that Iago gives him “theocular proof ” (3.3.361 ), Othello is reminded of the handkerchief (which Iago hasmanaged to possess) by Iago (3.3.433-436 ), who knows that Desdemona willintervene to have Cassio be received again22.

21. This handkerchief has such a mysterious story, that even Shakespeare himself seems to have

forgotten it: at first, Othello says that it was given to his mother by an Egyptian charmer ( 3.4.51-64 ),but later on he says it was an antique token given to his mother by his father ( 5.2.215-216 ).22. Desdemona is indeed an honest woman. She tells Cassio: “ Assure thee if I do vow a friendship, I ’ llperform it to the last article. My lord shall never rest, I ’ ll watch him tame and talk him out of patience; His bed shall


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When asked by Othello to lend him her handkerchief (3.4.47 ), Desdemona,coyly conceals the truth concerning the handkerchief’s whereabouts, and,upon Othello’s insistence, she becomes audacious and boldly tells him: “This isa trick to put me from my suit: Pray you, let Cassio be receiv’d again ” (3.4.83-84 ).Othello insists that she must fetch him the handkerchief, and she responds

“Come, come; you’ll never meet a more sufficient man ” (3.4.86 ). Othello angrilyre-iterates “ the handkerchief! ” and she replies “I pray, talk me of Cassio ”, and “Aman that all his time hath founded his good fortunes on your love, shared dangerswith you −” (3.4.88, 90) . Any suspicious man would undoubtedly infer that poorDesdemona was guilty of adultery. And so, Othello has made up his mind.

Deeply romantic, he praises Desdemona’s qualities, but at the same time, theinculcations Iago has cast upon him haunt Othello and, ultimately, they winover his profound love23. And, indeed, given the suspicious circumstances, why

would anyone doubt “honest Iago ” who, as he assures Othello, knows his“country [’s] disposition well ” (3.3.203 ), and also confides to Othello that “in Venicethey [women] do let God see the pranks they dare not show their husbands; theirbest conscience is not to leave’t undone, but keep’t unknown ” (3.3.204-205 )?

Othello’s complexion as a dramatic character tends to confirm the reports oftravellers, in which black men were possessed with an intense desire topossess a white woman and all that she entails: her body, her status, herwealth and power. Othello is obsessed with Desdemona’s whiteness, the

moment she minimises the importance she attributes to his blackness. He doesrefer to Desdemona as “sweet Desdemon ” (3.3.55 ), “my good lady ” (3.4.30 ) and“fair lady ” (1.3.125)24, but he seems to be constantly fixated with her body andcolour, calling her “my fair warrior ” (2.1.175), “excellent wretch ” (3.3.90 ), or “the fairdevil” (3.3.479 ) - “fair” meaning both honest and just, but also white andbeautiful.

Othello, battling with his conscious, asks Desdemona: “Turn thy complexionthere, patience, thou young and rose −lipp’d cherubin; Ay, there, look grim as hell! ”

(4.2.61-63

). He sees her as an angel, but fears that “her name, that was as fresh as

Dian’s visage, is now begrim’d and black as mine own face ” (3.3.387-389 ), thusemphasising the contrast between white and black, which creates anenormous gap between the two lovers. Yet, the most eloquent exposition of

seem a school, his board a shrift; I ’ ll intermingle every thing he does with Cassio ’ s suit. Therefore be merry, Cassio;thy solicitor shall rather die than give thy cause away ” (3.3.20-28 ). And so, she did.23. Othello’s division is obvious: “ Hang her, I do but say what she is: so delicate with her needle, an admirablemusician - O, she will sing the savageness out of a bear - of so high and plenteous wit and invention ” (4.1.183-186 ).24. There are three female characters in the play: Desdemona, Emilia and Bianca. Desdemona andBianca are both called “ sweet ” and “ fair”, but poor Emilia is never attributed such a courtesy. In fact,the only time Emilia’s name is qualified by an adjective is in 4.3.15 , when Desdemona speaks to her,calling her “ good Emilia ”.


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Othello’s obsession with Desdemona’s colour is to be found in the soliloquy heutters upon entering Desdemona’s bedchamber: contemplating Desdemona’smurder he is about to commit, he says: “I’ll not shed her blood, nor scar thatwhiter skin of hers than snow, and smooth as monumental alabaster ” (5.2.3-5 ).

Entrenched Stereotypes: Sexual Intercourse & Promiscuity

Shakespeare, in his own wont, has made the issue of sex such a paramountmatter that it seems its ubiquity haunts (or, delights) most of the play’scharacters. One could say that, other than the issue of blackness, the nextimportant issue is sex and, in particular, loyalty and fidelity within wedlock.The enormous emphasis placed on sex has become the quintessence of Iago’scunning scheme.

Cassio, though an honest man and a noble gentleman, every once and a whilehas another woman in his arms, the most prominent of all being Bianca, aCypriote courtesan. Emilia, Iago’s wife and Desdemona’s attendant, speaks hermind freely about men’s lack of affection, for the very first time, towards theend of Act III, Scene IV25. But she is interrupted by the arrival of Cassio andIago. She does, however, resume towards the end of Act IV, Scene III. Sheseems to hold liberal (perhaps, too liberal for her time) ideas on fidelity andadultery, equating conjugal fidelity and infidelity for both husbands and wives,advocating that “ I do think it is their husbands’ faults if wives do fall. Say that theyslack their duties and pour our treasures into foreign laps, or else break out inpeevish jealousies, throwing restraint upon us; or say they strike us, or scant ourformer having in despite −” (4.3.84-89 ), perhaps one of the earliest feministmanifestoes in English literature.

However, it is beyond the scope of this paper to elaborate on the erotic affairsof the white characters of the play. Let us focus upon Othello’s sexuality and,collaterally, to Desdemona’s. Throughout the play, there are instances relatingto Othello’s copulation with Desdemona, some of which we hear of, some of

which we “see”. In fact, the only time we “see” an instance of sexualintercourse between Othello and Desdemona is right after the Senate hasapproved their wedding: “Come, Desdemona, I have but an hour of love, ofworldly matters and direction to spend with thee: we must obey the time ” (1.3.295-297 ). Indeed, it is quite odd for us today to see a man with Othello’s dutiesdelay the immediate departure to Cyprus for “an hour of love ”26. However, let

25. Desdemona, obviously hurt by Othello’s inexplicable behaviour, confesses to Emilia that she is “most unhappy in the loss of it [the handkerchief’s]” ( 3.4.96 ). Emilia sympathises with her and, trying toconsole her, she tells her: “’ Tis not a year or two shows us a man. They are all but stomachs, and we all butfood; they eat us hungerly, and when they are full, they belch us ” (3.4.97-100 ).26. Since Othello and Desdemona had been married for some time, it is highly unlikely that this “ hourof love ” is their first one; in fact, the way Othello approaches Desdemona denotes that it is not the firsttime they engage in sexual activities.


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us not forget that it is Renaissance Venice, a place of love and passion, and thata voyage to any distant place entailed numerous dangers (tempests,shipwrecks, inundations, pirates etc.), including death itself.

As previously mentioned, part of the knowledge the Elizabethans had about

the natives of the Dark Continent came from travellers’ accounts. All theseaccounts fascinated them, because they included tales of monstrous creatures,heathen customs, cannibalism and sexual orgies. Thus, “black” receivedanother connotation, that of savagery, nakedness and general depravity. Thisview is reflected in Iago’s words to Roderigo in2.1.219-223 : “When the blood ismade dull with the act of sport, there should be, again to inflame it and to givesatiety a fresh appetite, loveliness in favour, sympathy in years, manners andbeauties: all which the Moor is defective in ”.

Renaissance commentators, in an attempt to account for the colour ofAfricans’ skin, which was so different from their own, offered twoexplanations: the quasi-scientific one suggested that blackness was nature’sdefence against the intense tropical sun. The other explanation offered wasbased on scriptural tradition and myth. According to this explanation 27,blackness was a form of punishment, another original sin, but also an ocularsignifier of an unbridle lust and a daemonic spiritual state. Dramatists drewupon these accounts and created the image of black men inextricablycoalesced with the context of illicit sex, paganism and exotic, yet forbiddensexuality. In Elliot H. Tokson’s words (in hisThe Popular Image of the Black Man inEnglish Drama, 1550-1688, Boston: 1982): “there is hardly a black character created forthe stage whose sexuality is not made an important aspect of his relationships withothers”.

Iago exploits all these stereotypes of blackness as a visual signifier of theeternal sin and the sexual fall from Grace, but also blackness and forbiddensex, heathenism and coarseness 28. Polygamy and lecherousness were alsoattributed to the autochthones of Africa, along with bestiality, brutishness andcannibalism29. In his apology to the Senate, Othello says: “It was my hint tospeak − such was the process; and of the Cannibals that each other eat, the

27. George Best, in his Discourse from Richard Hakluyt’s Voyages mentions that, when Noah and hissons, Sem, Cham and Japhet were in the Ark, during the time of the Deluge, Noah receivedcommandment from God which instructed all of them to abstain from copulation. Yet, impatient andpersuaded by the expectation that the first-born child after the flood would become the inheritor of allthe dominions of the Earth, Cham disobeyed that commandment; thus, Chus - his child - and hisdescendants were born “ so blacke and lothsome ”, as a sign of the curse they bore.28. All these are mentioned in Thomas Thorpe’s and William Aspley’s A True and Large Discourse ofthe Voyage of the Whole Fleete of Ships (London, 1603), as well as in John Kingstone’s and HenrySutton’s The Fardle of Facions Conteining the Auncient Maners, Customes, and Lawes, of the PeoplesEnhabiting the Two Partes of the Earth Called Affrike and Aise (London, 1555).29. These are mainly referred to in the English translation of Philippo Pigafetta’s description of Congo,translated by Abraham Hartwell in A Report of the Kingdome of Congo, a Region of Africa (London,1597).


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Shakespeare’s View of Othello

“Othello is not ‘about’ race, or colour, or even jealousy. It dramatises the way actions are directed by attitudes, fears, and delusions that rule the subconscious than by evident facts”.

P. Davidson,Othello: An Introduction to the Variety of Criticism ,Hampshire: Macmillan press (1988).

Although the above quote seems to shift the focus from Othello’s colour andthe prejudice he experiences, it does serve an elucidatory purpose: it revealsthat Othello and Othello may be interpreted in a number of ways, depending onthe focus each person places on the play. And indeed, it is not very hard toconclude that Othello is probably Shakespeare’s most controversial play.

It would be exciting to attempt to reveal Shakespeare’s own view on hisOthello, a task so much hindered by a number of factors. Shakespeare hasmade Othello a problematic character, in that he never really tells us what hethinks of him, although he clearly tells us about the other characters in theplay. Furthermore, although a large number of books relating to the DarkContinent were published circa Othello’s compilation, we can never be certainas to which books Shakespeare actually read. The dominant majority of theRenaissance texts were ethnocentric, but a general consensus as to whatdegree Shakespeare shared those assumptions, relating to colour and foreigncustoms, may never be reached.

We can only attempt to deduce Shakespeare’s point of view based on twofactors. To begin with, Shakespeare was known to hold “unorthodox” views ona number of highly politicised matters, such as the issue of homosexuality (orhomoeroticism), the issue of kingship or queenship (and, interestingly, helived both of those reigns), as well as on the issue of female emancipation and Justice and order. In a fashion resembling to Leonardo Da Vinci’s surreptitiousinsertion of “unorthodox” elements on religious paintings and drawings 30,William Shakespeare manages to furtively incorporate his “unorthodox” ideasin his plays, embedding them in a way as it would be acceptable by the sterncensorship his works had to go through prior to publication and performance.A brilliant example of that would be his great tragedy, King Lear , in which he

30. Although the great debate among various specialists is still unquenched, several experts haveobserved “unorthodox” elements in many of Da Vinci’s famous paintings, including The Madonna ofthe Rocks (c. 1485 and 1508), Mona Lisa (La Gioconda - c. 1507) and The Last Supper (1498). Theargumentation for The Last Supper asserts that it is not John the Baptist who sits to the right ofJesus, but Mary Magdalene, and her attires are the colour inversion of Jesus’ attires. Furthermore, it isclaimed that their position in the painting, in conjunction with Christ’s position, forms an “M” (which,supposedly, stands for Magdalene) and that St. Peter’s hand threateningly extends towardsMagdalene’s side - a sign of the rumoured dispute between them.


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actually questions the limits of a King’s reign and indifference for his subjects:by placing his setting in an ancient, pre-Christian era, he avoids beingcensored or, even worse, executed for undermining the institutionalisedsystem of regality.

However, this quite generic description of Shakespeare’s predilection is notthe only clue we have on what he actually thought of his Othello. A criticalreading of Act I, allows us to judge for ourselves and juxtapose appearance andreality, which is another pervasive theme throughout his works. By the timeOthello first appears, uttering the wise “ Keep up your bright swords, for the dewwill rust them. Good signior, you shall more command with years than with yourweapons ” (1.2.59-60 ) to Brabantio and his custodians, we are pretty vigorouslybombarded by a collection of representative stereotypes that convey theElizabethan attitude towards Africans, regardless of degree of blackness and

ethnic origin: Othello is presented as a lecherous stallion, a hideous beast, aman who looks like the Devil and acts like a monster. Yet, the very moment heactually appears, all the theatrical clichés collapse and all culturalmisconceptions are shattered.

It is quite amusing to see Brabantio, a sophisticated and civilised Senator, tosuddenly speak in terms of black magic, potions, philtres, hexes and spells, inorder to explain what he seems to be unable to grasp. However, it is importantto understand that, although today we may view the love affair of Othello andDesdemona as comfortably as we can accept Hamlet/Ophelia or Romeo/Julietas love pairs, the Elizabethan audience would be abhorred by even the verythought of such a union. Racism was inherent in them, since most of the blackpeople they came in contact with were considered slaves and savages. Thevisual disproportionateness was so enormous, that it would have managed toblock every hope of a successful relationship between Othello and Desdemona.

Othello is the living proof of an accomplished commander, a successful soldier,a respected knight. His words convey such a tremendous clarity, and his lackof ambiguity, which is strikingly contrasted to the Venetians’ multi-ambiguouslanguage, fill us with a sublime sense of awe. Othello uses a profoundly poeticlocution, which is diametrically contrasted with Iago’s prosaic and pejorativewording. After Act I, most of the racial comments fade away, and Othelloseems to be quite competent in earning the respect he is invested with. And,indeed, Othello is extremely confident of himself: “My parts, my title and myperfect soul shall manifest me rightly ” (1.2.31-32). Yet, no sympathetic reader canverily anticipate the exact extent to which Othello’s reputation will be able tocounter the prejudice he is surrounded with. In the very beginning, at least,we realise that Othello has every potential to transcend certain pre-conceivednotions of race, through his heroism and valour, his virtue and his gallantry.


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In my humble opinion, Shakespeare attempts to convey an intense anti-racistmessage to his audience (or readership, for that matter). In a way, he tells usthat those who have a racist attitude towards people like Othello are the oneswho have not really seen Othello’s soul. By allowing us to see Othello for whathe really is, he allows us to form (or, perhaps, change) an opinion on coloured

people, not based on what others say, but based on Othello’s actions andwords. He also passes the message that not all black people can be slaves.

He is neither a bestial and lascivious man, nor a warlock and a charlatan. Theonly venial sin we can account for him, other than his naïveté and tragic flawof gullibility, is his swaggering. He does seem to be pretentious when henarrates his adventures and the story of his life. But we are inclined to forgivethat, not only because of his impeccable behaviour (prior to Desdemona’sunfair strangling), but also because his bragging can be interpreted as a

psychological defence on the attacks he is recipient of: partial pomposityallows him to elevate before the eyes of all those who think of him as nothing.

The very moment he realises his own ignorant sin, he begs for Cassio’s pardon(5.2.297-299 ) and then implores Lodovico to report the truth on the affairs thathad transpired, seeking to ensure his posthumous fame: “ Soft you; a word ortwo before you go. I have done the state some service and they know’t: No moreof that. I pray you, in your letters when you shall these unlucky deeds relate, speakof me as I am; nothing extenuate, nor set down aught in malice. Then must youspeak of one that lov’d not wisely, but not too well; of one not easily jealous but,

being wrought, perplex’d in the extreme; of one whose hand, like the base Indian 31,threw a pearl away richer than all his tribe; of one those subdued eyes, albeitunused to the melting mood, drops tears as fast as the Arabian trees theirmedicinable gum ” (5.2.334-347 ).

This is an allusion to Hamlet , the tragedy that was written right before Othello (c. 1601), where Hamlet, also in the last scene, implores Horatio to report thetruth. However long and lamentable, it is important that Othello hereabandons all sort of swaggering yet he retains his poetical eloquence. He

realises his tragic flaw and the great calamity his tragic fall has brought uponhim. He can no longer stand the humiliation he will suffer and ultimately takeshis own life, in an attempt to preserve his dignity - a teaching of Stoicism.However, he wants to be remembered for what he was, not for what he did. Heacknowledges his mea culpa and, at the same time, he firmly believes that he iseligible for indulgentia (indulgence).

A final note for the tragic end of Othello’s and Desdemona’s marriage: Indeed,their marriage does not survive, pleasing many puritans and pre-Nazi, whitesupremacist individuals, such as Iago. The failure of these two individuals to

31. Q1 (1622) reads: “ of one whose hand, like the base Indian , threw a pearle away ”. F1 (1623) reads: “ ofone, whose hand (Like the base Iudean) threw a Pearle away ”.


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successfully mate does neither demonstrate an insurmountable culturalincompatibility, nor is it the case that “ black and white blood cannot beintermingled in marriage without a gross outrage upon the law of Nature”, as JohnQuincy Adams (1767-1848), the sixth American president wrote. There wassome incongruity between them, but they were able to overcome it, within

their relationship. What has destroyed their marriage is not Nature’s law or adivine omen, but a malicious and malignant society, represented by loathsomeindividuals, such as Iago. In a way, Shakespeare - and any critical spectator orreader, for that matter - gets the message that, other things being equal,should Othello and Desdemona lived in another society, their marriage andrelationship would have prospered.


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SELECTED SOU R CES

http://www.clicknotes.com/othello

http://clcwebjournal.lib.purdue.edu/clcweb04-1/reitz-wilson04.html

http://www.campusnut.com/book.cfm?article_id=337 http://www.essays.cc/free_essays/f4/rsk249.shtml

http://www.gradesaver.com/ClassicNotes/Titles/othello/ http://www.hf.ntnu.no/engelsk/shakespeare/

http://www.mcauley.acu.edu.au/staff/simonr/othello.htm

http://www.theatredance.com/othello/

http://www.willamette.edu/~blong/ShakeO/Othello.html

http://www2.hn.psu.edu/faculty/jmanis/shake.htm

Microsoft Encarta 2004 Standard Edition

Gill, Roma (ed.), Oxford School Shakespeare series: Othello . Oxford: OxfordUniversity Press (2002).

Sanders, Norman (ed.), The New Cambridge Shakespeare series: Othello .Cambridge: Cambridge University Press (2002).

Vaughan, Virginia Mason, Othello: A contextual history . Cambridge: CambridgeUniversity Press (1996).

Othello ’s quotes have been cited from the Oxford Edition, which is based on Q2.

Othello, colour, race and prejudice, as they manifest in the play

Documents

Transcript of Othello, colour, race and prejudice, as they manifest in the play