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Sixteenth century life
16th to 17th century England
16-17th century
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In the Sixteenth century, as we see clearly from Othello and other works of both Shakespeare and Cinthio's original version of Othello, race was a topic of great debate and discussion. Today, in the twenty-first century the debate retains its controversy and passion. However, attitudes towards race have taken a dramatic turn during the last century. In the developed world people are now living in an increasingly cosmopolitan society would undoubtedly be more tolerant and would reject or even be offended by racial discrimination to any person or sections of the community. Openly 'racist' people today are seen as outcasts. Taking this into account, the way a modern audience would react to race and racism in Othello is dependent upon the way in which that modern audience would interpret 'Othello'. This prompts the questions of what sort of message Shakespeare wanted to send to his audience and was Othello the moor portrayed as a tragic hero or did his character eventually come to resemble the prejudices of which he was a victim. Shakespeare also discusses the issue of race with other characters such as the hateful Iago and the prejudices hidden deep in Barbantio.
The actions of Barbantio initiate the interest in the race issue in Act 1 Scene 1 more so than Iago's foul abuses because the type of hidden racism is actually present in modern society. Barbantio disapproves of his daughter ever marrying Roderigo who has not got a good reputation with him but after listening to Iago tell him that his daughter is seeing a moor he wishes Roderigo,
"...O, Would you had had her!"
Thus Barbantio suggests that a disrespected white man is superior to a respected noble and gentleman in the army whose only 'problem' as Barbantio sees it is ...
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... moor but Shakespeare is instead discussing the, "amalgam of the noble and the jealous, the soldier and the fool and the Christian and the barbarian who is reduced to stammering brutality." A modern audience would not see Othello as the guilty and barbaric moor but as a victim of Iago and his deception. The audience instead would take would take with them a message that colour does not play a part in character. Instead those who discriminate people racially are the truly devious characters and Shakespeare shows this clearly through Iago and Barbantio. Iago himself is clear evidence that Shakespeare is not in any way condoning racism but instead he is attacking racism. The attack on Barbantio's hidden racist views also prove that this is the case. The main message of Othello would be very positive foe a modern audience; that racism in all forms is totally unacceptable.
When Iago arrived at Brabantio’s house to inform him of his daughter’s absence he called out to Brabantio that a white ewe was being defiled by a black ram, signifying Desdemona and Othello. Iago went on to shout, “I am one, sir, that comes to tell you your daughter and the Moor are making the beast with two backs” (1.1.112-113). A modern equivalency would be, ‘I am here to inform you that your daughter is having relations with a colored man.” Iago racks up the majority of his 29 counts of Moor in the second act, while hatching his supposed revenge scheme.
Orkin, Martin. “Othello and the “plain face” Of Racism.” 2nd ed. Vol. 38. N.p.: n.p., n.d. 166-88. Shakespeare Quarterly. Folger Shakespeare Library in Association with George Washington University, Summer 1987. Web. 12 Mar. 2014. .
Arthur Shopenhauer once described a racist man as a “…miserable fool who has nothing at all of which he can be proud, adopts as a last resource pride in the nation to which he belongs; he is ready and happy to defend all its faults and follies tooth and nail, thus reimbursing himself for his own inferiority.” Without a doubt, racism is one of the key themes in Othello, which challenges the characters thoughts and actions throughout the play. One specific character, Iago, is driven by such racial distort, especially against Othello, that ultimately motivates his ingenious rampage of revenge and confusion. Hence, the characters racist attitudes, but mainly Iago’s, creates the momentum needed to spur the confusion and tension between the characters, resulting in the popular Shakespearean dramatic ending. Iago’s word choice describes very clearly his racial vision of Othello. He refers to Othello throughout the play by many racial slurs: “the moor”, “an erring barbarian”, and “black ram”. His attitude towards Othello implies certain personal characteristics: it shows that he is, jealous, hateful, and insecure “of his own inferiority.” From the beginning, Iago has been the “playmaker” of the play, always instigating the trouble and trying somehow to damage Othello.
“Graduate students have more quickly and thoroughly transcended language barriers” (Shakespeare 14). Shakespeare is written in Early Modern English, significantly different than today 's English language. Shakespeare language compares to the Romance language, that experiences these difficulties of translating the language. Many textual meanings and personal annotations are presented in this book. Now we transition to talking about the book Othello itself. Many think Othello is a black African, but really Shakespeare is portraying Othello as a Moor. A Moor is characterized as an African Muslim, however, many believe that Shakespeare is identifying him as black or a Negro. “Racial and cultural difference in Othello 's psychology and behavior” make this personal for some readers (Shakespeare
Othello: The Moor of Venice is probably Shakespeare's most controversial play. Throughout this work, there is a clear theme of racism, a racism that has become commonplace in Venetian society which rejects the marriage of Othello and Desdemona as anathema. The text expresses racism throughout the play within the language transaction of the dialogue to question the societal ethos established by Othello, thereby making him nothing less than a cultural "other." Furthermore, the character of Desdemona is displayed as mad, or out of her wits, for marrying such an "other," and the audience sees her slip from an angelic state of purity to that of a tainted character. Also, the menacing Iago, a mastermind of deviant rhetoric, is able to play Othello and Desdemona against one another until their marriage fails, while at the same time destroying his adversary and friend, Cassio. Thus Iago has a specific agenda, not only to get back at Othello for choosing Cassio instead of him, but also to make Cassio the victim of his plan to destroy the forbidden marriage referred to by Brabantio as a "treason of the blood" (1.2.166-167). Essentially, Iago is a representative of the white race, a pre-Nazi figure who tries to inform the public of the impurity of Othello and Desdemona's marriage. He demonstrates how this miscegenation is threatening to the existing social order. Thus, through analysis of racism, the play represents the hatred possessed by mankind -- a hate so strong that society sees the mixing with an "other" to be a curse to humanity and a terrible threat to Aryan culture.
With clear references to Othello’s ‘thick lips’ and ‘old black ram’ being linked very closely to his portrayal and respect that he has in this play. The argument that has disputed the involvement of either all white or all black characters, but I believe that it is important to keep the cast the way Shakespeare wrote it because of the clear divide and isolation it makes it commendable and stimulating. It could be argued that Shakespeare was indeed creating racial difference or that he was allowing Othello’s personal flaws to instead create his isolated and jealous breakdown. Othello is presented as having inherent bravery and virtue, yet he is corrupted and ironically ‘blackened’ by Iago the white male character whose manipulative lies and deception eventually destroy him. Othello’s last obituary is resonant and controlled. It is seen that in fact this emotional explanation of his love life, last moments and his great deed was actually problematic for the audience to accept due to the speculation that these ideas were in fact false throughout this
F. R. Leavis discusses the breakdown of sympathy for Othello, arguing that ‘Othello is too stupid to be regarded as a tragic hero’. Other critics also argue that Shakespeare ‘fully exploits the unique cultural opportunity to develop a more complex and sympathetic representation of black experience’ [The Noble Moor – Othello and Race in Elizabethan London, Roger Lees], implying that the sympathy that a contemporary audience would have felt for Othello was based oncultural context, given that the audience were predominantly white. However, it could be argued that it cannot just be the cultural context to Shakespeare’s audiences that has allowed Othello to become one of his most renowned tragedies; if this were the case, the play would have lost all critical interest by the 18th Century. It is Shakespeare’s use of the conventions of tragedy in attributing Othello with hubris that, although making it hard to empathise with at times, in the...
The character of Iago uses racial stereotypes both to disparage Othello and to plant the seeds of jealousy in him. Iago calls to Brabantio "an old black ram / is tupping your white ewe." (I,i,96-7) He uses this image to enrage the old man and to denigrate Othello. Later in the scene, Iago refers to Othello as a "Barbary horse," indicating his North African heritage and at the same time conveying a sense of inferiority. (I,i,124) He continues this insulting metaphor by referring to Othello and Desdemona’s future progeny as "gennets," a term for Spanish horses. (I,i,126) This opening scene sets the stage for not only Iago’s hatred of Othello, but for his prejudice against him. In his consolation of Roderigo, Iago calls Othello "an / erring barbarian" whom Desdemona will leave when she is tired of him. (I,iii,377-8) Again to Roderigo, Iago queries "what delight shall" Desdemona "have to look upon the devil?" (II,i,258) While drinking with the men of the watch in Cyprus, Iago raises a toast "to the health of black Othello." (II,iii,30) These remarks eventually are turned on Othello himself as Iago suggests that Desdemona would not love a Moor. Iago claims that all Venetian women are prone to infidelity in his speech:
Texts and their appropriations reflect the context and values of their times. Within Shakespeare’s Othello and Geoffrey Sax’s appropriation of Othello, the evolution of the attitudes held by Elizabethan audiences and those held by contemporary audiences can be seen through the context of the female coupled with the context of racism. The role of the female has developed from being submissive and “obedient” in the Elizabethan era to being independent and liberated within the contemporary setting. The racism of the first text is overtly xenophobic and natural, whilst the “moor” is unnatural whereas the updated context portrays Othello’s race as natural and racism as unnatural. Therefore these examples show how Shakespeare’s Othello, and it’s appropriation, Geoffrey sax’s Othello, reflect the context and values of their times.
Racial prejudice against Othello is introduced early in the play and is present throughout. Iago and Roderigo approach Brabantio with news about his daughter Desdemona. They inform Brabantio his
Only by considering a range of perspectives can we truly appreciate the world of Shakespeare’s Othello. It is through my exploration of these perspectives and their relationship with changing morals and values that has enriched my understanding of the play. One such reading of the play challenges the marginalisation and objectification of woman in a patriarchal Venetian society, while taking into account the changing role of women in modern society. Another interpretation of Othello examines its post colonial elements through the protagonist Othello, and his insecurities of being a black man in a white society. My interpretation of the play as a portrayal of the values existing in Shakespeare’s time is filtered through these perceptions, thus broadening my understanding of Othello.
Racism in William Shakespeare's Othello. The play, Othello, is certainly, in part, the tragedy of racism. Examples of racism are common throughout the dialogue. This racism is directed toward Othello, a brave soldier from Africa and currently the supreme commander of the Venetian army.
Have you ever thought about how much Othello’s race and the racism around him affected his life? Othello struggled a lot during the play because of his dark skin color. He was called several racist names like “the Moor,” “old black ram,” “Barbary horse,” and “thick lips” (Shakespeare 1.1.40; 1.1.88; 1.1.111; 1.1.66).The term “racism” has been around for several years; it started in the twentieth century (Bartels 433). By the way the Elizabethan era viewed black people was similar to how racism is today with all of the racial comments, and stereotypes. Being a black person in a mostly white ethnicity area at that time had to be challenging based on Othello’s experience. Othello was the black sheep crowded around a herd of white sheep, he was an outcast. Racist comments were made by many of the characters like Iago, Brabantio, Roderigo, and Emilia. If there was an award for most used racial comment towards Othello, Iago would win. Racism in Othello had a tremendous impact on Othello. He was judged by the color of his skin and not his personality. Othello’s race and the racism around him affected his life by ruining his marriage with Desdemona, alienating him from everybody in Venice, and by making him an easy target to be manipulated by Iago.
One of the major issues in Shakespeare's Othello is the impact of the race of the main character, Othello. His skin color is non-white, usually portrayed as African although some productions portray him as an Arabian. Othello is referred to by his name only seventeen times in the play. He is referred to as "The Moor" fifty-eight times. Webster's Revised Unabridged Dictionary (1913) states that a Moor is "Any individual of the swarthy races of Africa or Asia which have adopted the Mohammedan religion. In Spanish history the terms Moo, Saracens, and Arabs are synonymous." This indicates that Othello is constantly being degraded and set up as an evil person throughout the play. What this really means is that Othello is being judged by his skin color rather than the person under the skin. The view that whites and non-whites are equal is a relatively new concept in our society. In institutionalized racism, such as American slavery, those of a different color were often viewed as inferior. As Shakespeare wrote Othello, this idea was becoming quite prominent as England entered the African slave trade. One can look at the racial issues from the perspective of color, slavery, and society.
Racism is just one of the many problems that we have here in the United States today. Racism isn’t as bad as it used to be but it’s still here. In Othello, written by the one and only William Shakespeare, racism is the main theme and focus. England became involved in the slave trade during the late sixteenth and seventeenth centuries (Slights 377). Racism started in the twentieth century after this was written but the way the Elizabethan era viewed black people was similar to how racism is today (Bartels 433). Othello struggled a lot during the play because of his dark skin color. He was called several racist names like “the Moor,” “Old black ram,” “Barbary horse,” and “Thick lips.”