The Concept of Race In Othello the Moor of Venice - Research Paper Example

Critical Strategy Introduction Of the entire Shakespearean canon one of the most controversial plays is Othello the Moor of Venice. This play deals with the hot bed issue of racial prejudice that continues to be at the center of contemporary social discourse. In Othello the Moor of Venice, the concept of race is addressed as Othello, a Moor, is demonized by his wife’s father for supposedly implementing witchcraft in her seduction. In this text racial stereotypes abound, causing critics and contemporary audiences to continue to debate their intended meaning. This essay examines the presentation of race in Othello the Moor of Venice. The in an effort to gain a well developed perspective on the meaning and signification of race in this controversial text scholarship on the plays is considered as well as historical accounts of 16-17th century Elizabethan society. Analysis In the opening Act of Othello the Moor of Venice the reader is immediately introduced to the concept of race as Iago and Roderigo inform Desdemona’s father Barbantio that Desdemona and Othello have been, “making the beast with two backs” (I.i.118). In this scene Othello is described with derisive racial terms, he is referred to as “the Moor” (I.i.57), “the thick-lips” (I.i.66), and “a Barbary horse” (I.i.113). It appears that this is a calculated move on Iago’s part, as he realizes that Barbantio will react negatively to his daughter and a Moor engaging in such acts. While there is a sense that Barbantio would object to anyone cohabitating with his daughter, indeed he rejected Roderigo for the same act, however Brabantio undeniably seems to connect race to Othello’s ability to woe Desdemona, “Is there not charms/ By which the property of youth and maidenhood/ May be abused?” (I.i.170-171). Later Barbantio states, “...thou hast practiced on her with foul charms/, Abused her delicate youth with drugs or minerals/ That weaken motion” (I.ii.73-75). In these lines it’s clear that Brabantio’s characterization of Othello goes beyond mere protectiveness for his daughter and rather chastises him for practicing a sort of witch craft. It seems this is a veiled reference to his African descent. While he is accepted as a highly valued soldier, there is a sense that if he ever tried to join in completely into the culture of Venice he will find hostility because of the colour of his skin. For that reason, we as readers often assume that Shakespeare presented Othello as a black person to put across the theme of racism and by doing this labeling him as the ‘odd one out’. There is evidence of this throughout the original text. The characters always refer to him as “The Moor”. Therefore it is easy to assume that they are being racist towards him. Iago describes Othello to Brabantio as “an old black ram / tupping [his] white ewe”. He describes this as if Othello is ‘dirtying’ Desdemona. He also refers to him as the “devil” with “thick lips”, both terms associated with black men at that time. Although Othello is respected, characters still end up discriminating him, manipulating his weaknesses and using his colour in order to get what they want. It is important to mention however, right from the outset Shakespeare introduces elements of doubt into our perception of Iago, especially when he admits, “I follow him to serve my turn upon him”. Therefore the audience does not have sympathy for him and the insults are easily disregarded. Shakespeare balances Brabantio and Iago’s characterization of Othello as a devious and malignant seducer with scenes that display his high social standing and worth to Venetian society. Indeed, when Othello is summoned by Brabantio critics have noted that the scene has many parallels to when Jesus Christ was summoned in the Book of John (Mullaney 1992). Othello is able to avoid violence by stating, “Keep up your bright swords, for the dew will rust ’em” (I.ii.60). This is similar to Jesus Christ’s commands to Peter when he states, “Put up thy sword into the sheath” (John 18:11). When questioned by the Duke regarding Brabantio’s charges, Othello responds, “...often did beguile her of tears” (I.iii.156), and Desdemona supports his claims stating, “And to his honors and his valiant parts/ Did I my soul and fortunes consecrate” (I.iii.253-254). Even while these rebuttals demonstrate Shakespeare’s positive portrayal of Othello, juxtaposed against Brabantio’s perspective they serve to demonstrate the racial prejudice that underline much of 16th century Venetian society. While the Duke believes Brabantio’s claims at first, he begins to doubt them once he discovers that the person being accused is Othello. In this scene Shakespeare characterizes Othello as heroic and exceptional; the Duke almost exclusively listens to Othello over Brabantio, demonstrating Othello’s elevated position. It also must be noted that the entirely of the plot revolves around Othello’s position as general in the Venetian army, as it’s his standing as general that gave him the power to promote Cassius, as well as to aid him in wooing Desdemona. Indeed, there is an entire subplot consisting of the Venetians battle to save Cyprus from the Turks in which Othello is the central heroic figure. Outside of the opening scene with Barbantio, perhaps the most blatant instance of racial prejudice occurs in Act III, Scene iii when Iago states that Othello is not "of her [Desdamona's] own clime, 3 complexion and degree" (III.3.232). As intended by Iago, this statement successfully intensifies the doubt and suspicion that has been circulating in Othello's mind. Indeed, one of the most prominent themes is that of isolation. Throughout the play Othello is isolated from the other characters and his skin colour seems to be both indicative and a cause of this separation. Othello’s isolation -- along with his temper and jealousy – is a key weakness that Iago seizes upon. Earlier Othello and Desdamona had been forced to attest their affection for one another, since it is generally inconceivable to the Venetian society that one of their own (Desdamona) should marry a negro, erring "against all rules of nature" (I.3.100-101). By the instance in Act III, this notion of inferiority based on skin colour has become almost permanently ingrained in Othello's mind, to the point where he seriously begins to believe and accept his fate as an outsider. Through Othello’s separation from the other characters Iago is able to play them against him with insinuations that ultimately results in the play’s cataclysmic ending. Numerous insecurities regarding race continue surfacing in Othello, spawning jealous rages and heightening mistrust, ultimately leading to the complete destruction of Othello's marriage to Desdamona. Othello, overcome by racism and fatefully heading toward his tragic destiny, compares Desdamona's reputation to the colour of his skin. He suggests her reputation is "begrimed and black as mine own face." The literal reference is to skin colour, but it is often contrasted to the darkness of the soul. Traditionally black was associated with evil and witchcraft. However in ‘Othello’, a white man is presented as evil, whilst the black character is pure; “your son-in-law is far more fair than black” – the Duke defends Othello to Brabantio.While in the beginning of the play Shakespeare plays on the incongruity of Othello’s outward ‘black’ appearance and his upstanding soul, after Emilia has discovered that Othello strangled Desdemona she states, “O, the more angel she,/ And you the blacker devil!” (V.ii.131-132). Emilia’s line is an extremely loaded as it can be read from a number of perspectives. In one sense she is contrasting Desdemona, who was faithful, to Othello who in his rage abandoned in love. In another more racially charged sense she is equating Desdemona’s white skin colour with her angelic nature, and conversely insinuating that Othello’s black skin and his murderous soul are one and the same. When considering the representation of race in Othello it’s important to consider the 16-17th century audience reception of the play, as well as the extent to which racial prejudices were ingrained in Venetian society. Dutton & Howard (2005) note that while race is a major concern for contemporary audiences, the 17th century Elizabethan audience emphasized the Venetian element of the play’s title, as the characters’ Italian ethnicity (excepting Othello) was understood as the primary factor motivating the plot. In a contemporary post-structural interpretation of Othello Jonathan Burton (Loomba & Orkin, 1998), conversely, emphasizes the centrality of race to Othello’s eventual downfall. Burton argues that Othello positions the African subject as over-wrought by the English language and European society to a fault. In comparing Othello to the real life individual Leo Africanus who possibly influenced Shakespeare, Burton (Loomba & Orkin, 1998, pg.46) states that, “What distinguishes Africanus from Othello is his ability to employ hybridity as a strategy to maintain the result compound.” Conclusion In conclusion, Shakespeare’s Othello the Moore of Venice explores the controversial question of race in the context of 16th and 17th century England. The controversial aspects of this play raise a number of pertinent questions for the relation of art and society. While the racial prejudices demonstrated in Othello and demonstrate blatant racism, the question remains to what extent the artist should be held accountable for social ideology. As demonstrated this was clearly an overriding concern during 16-17th England and it still a primary concern today as the racial views displayed by Shakespeare in the play continues to remain embedded in contemporary society. Shakespeare makes apparent that the feeling of hate is timeless, but tolerance is constantly changing. References Dutton, R., Howard, J. (2005). A Companion to Shakespeare's Works: The Tragedies Vol. I. Wiley-Blackwell. Loomba, A. Orkin, M. (1998) Post-Colonial Shakespeares. Routledge. Mullaney, Steven. (1992). The Place of the Stage: License, Play, and Power in Renaissance England. University of Michigan Press. Shakespeare, William. Othello the Moor of Venice. Read More