The Controversial Aspects of Othello and The Merchant of Venice Plays: the Relation of Art and Society - Essay Example

 Introduction Of the entire Shakespearean canon two of the most controversial plays are Othello the Moor of Venice and the Merchant of Venice. Both plays deal with the hot bed issue of racial prejudice which continues to be at the center of contemporary social discourse. The Merchant of Venice, arguably Shakespeare’s most controversial play, explores social conceptions between Shylock, the Jewish merchant, and Antonio, a borrower. While to contemporary audiences the Merchant of Venice is overtly anti-Semitic, a number of theorists and historians argue that Shakespeare’s portrayal of Shylock was as sympathetic as 16th century Elizabethan society would allow. 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 both texts racial epithets and stereotypes abound, causing critics and contemporary audiences to debate their intended meaning. This essay examines the presentation of race in both Othello the Moor of Venice, and the Merchant of Venice; scholarship on the plays is considered as well as historical accounts of 16-17th century Elizabethan society in an effort to gain a well developed perspective on the meaning and signification of race in these controversial texts. Othello: Audience & Critical Receptions 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.” Othello: Critical Investigation 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. Merchant of Venice: 16-17th Century Elizabethan Cultural Landscape Anti-Semitism in 17th-century Elizabethan society is well documented (Burrin 2005). During the time Shakespeare’s the Merchant of Venice was written and performed the Jewish people residing in Venice were forced to habitat together in ghettos for their own safety form the dominant Christian Venetian society. In a play that most likely influenced the Merchant of Venice, Christopher Marlow’s the Jew of Malta portrays the main Jewish character in a exceptionally bad light, replete with traditional Jewish stereotypes of greed and malice. Indeed, Dutton & Howard (2005) demonstrate that in the late 16th century Elizabethan climate a number of plays and cultural objects featured the theme of Christianity triumphing over the ‘corrupt’ influence of Judaism. It’s in this cultural climate that Shakespeare’s the Merchant of Venice emerged. While the play is undeniably a product of its time and today it’s nearly impossible to ignore its blatant anti-Semitic message, it’s important to understand that because of the climate of its production the sympathy it does show to Shylock may be all that Elizabethan audiences would tolerate. Merchant of Venice: Critical Investigation Because of this, it is not surprising that Shylock is depicted as a greedy, fanatical, blood lusting monster. In the play, Shylock lends 3,000 ducats to Antonio. Rather than charging interest for his loan, Shylock creates a bond, which the is penalty “let the forfeit be nominated for an equal pound of your fair flesh, to be cut off and taken in what part of your body pleaseth me” (I.iii.18). The penalty stated is similar to “blood libels”, sacrifices of Christian children during Passover, which Jews were accused of practicing. The bond resembles the clichéd agreement between a man and the devil, in which the man exchanges his soul for something temporary and petty. Also, carnivorous imagery is used by Shylock to describe his grudge against Antonio “I will feed fat the ancient grudge” (I.iii.15). Shakespeare’s use of carnivorous imagery enhances the anti-Semitic views concerning Jews and sacrifices with blood and flesh. It is also a stereotypical view that Jews are greedy. Shylock is a moneylender and is accused of unfairly charging interest. Also, he is portrayed as possessing the wrong priorities when reacting to his daughter’s disappearance, “Why thou loss upon loss! The thief gone with so much, and so much to find the thief…” (III.ii.47) Shylock doesn’t consider his daughter as a loss, and refers to Jessica as a thief. He appears to be only concerned with the money and jewels stolen from him, and the outgoing funds to recover the possessions. The play’s anti-Semitic views are further established by the behaviors of fellow characters. Antonio mistreats Shylock because he is Jewish, and disagrees with Shylock’s business practices of charging interest. He spreads rumors about Shylock causing him to lose business, friends, and to suffer indignities. “He hath disgraced me, and hindered my half million, laughed at my losses, mocked my gains, scorned my nation, thwarted my bargains, cooled by friends, heated my enemies…” (III.i.45). Antonio, further, disgraces Shylock in public by kicking and spitting at him and is glad to have acted so. “You, that did void your rheum upon my bread and foot me as you spurn a cur…” (I.iii.17). He also makes numerous references calling him a dog, cur, and wolf. Shylock’s own daughter, Jessica, causes him to suffer the greatest indignity. Jessica longs to be free from her father and her house, which she refers to as “hell”. She is ashamed of being Jewish, which is apparent because of her references toward converting to Christianity once she is married. She elopes with a Christian, Lorenzo. Furthermore, before she leaves Shylock’s house, she steals his money and jewels. Shakespeare’s main message concerning Shylock and the treatment he receives seems to be that he deserves whatever he gets for being a Jew. During this time England, like most of Europe, judged people by skin color and ethnicity. The further south or east, the less civilized the people were thought to be. A tan by today’s standards is a sign of livelihood or ethnicity, but during the time of The Merchant of Venice a dark complexion was viewed as ugly and savage (Burrin 2005). Portia dismisses her Moroccan suitor because he is dark skinned. “If he have the condition of a saint and the complexion of a devil, I had rather he should shrive me than wive me.” (I.iii.13) Portia’s play on words has a double meaning. The complexion she speaks of refers to his temperament or his skin because devils were thought to be black. Portia confesses to the prince that she finds him attractive, and he should not be judged by his complexion. Her hypocritical views are made apparent in her end statement: “Let all his complexion choose me so.” (2.8/ 38) The Portia's cultural limitations show her to have close-minded views. Later in the play, Bassanio draws comparisons to his casket situation from four areas of human endeavor. One of these areas was beauty, and how it can be deceiving. Something can look attractive on the outside, but hold something less than desirable inside, such as the gold casket or “the beauteous scarf veiling an Indian beauty” (III.ii.51). The quote suggests that the scarf is the ornament that covers the swarthy, unattractive Indian woman. Shakespeare uses the Indian comparison to further degrade those with a dark complexion expressing ideological views of white superiority. There is no mention of complexion in the comparison of Shylock to a Turk. A Turk is a person of Turkish Middle-Eastern origin. “From stubborn Turks and Tartars never trained to offices of tender courtesy.” (IV.i.67). The duke tries to persuade Shylock by saying he is not as barbaric as a Turk. Turks were thought to be barbarians, and Shakespeare displays no different of a mindset. The Merchant of Venice has an ending that is not so much happy as it is unresolved. Jessica at the end is quiet while all the other couples are jubilant. She is left with the shame of thrice sinning against her father. She has abandoned her faith, eloped with a Christian, and stolen from her father. She is feeling guilty for the desertion of her father in his time of need. Another, troubling aspect about the end of the play was the harshness of Shylock’s sentence. Forcing someone to give up his or her faith is cruel. Faith and religion are major defining facets of an individual. It is human nature to have a belief system, and beliefs can’t be taken away. Shylock is sentenced the ultimate punishment imaginable. Aside from the play’s unresolved ending, character personalities made the ending problematic. Antonio’s hatred and contempt for Shylock make him seem nasty. “I am as like to call thee so again, to spit on thee again, to spurn thee too” (I.iii.18). His unsubstantiated motivation for his acts of cruelty made the villainous Shylock seem a victim of prejudice. Also, Portia’s intolerance towards different races causes contradictory opinions of her to be formed. She is a smart, witty, and kind young lady, but when she displays her biased views, it becomes apparent that her intellect and kindness is as discriminate as she. Finally, The Merchant of Venice is a play about love and taking risks for friendship. Its conflict is a result of the ‘villain’s’ reaction to racial prejudice within Venetian society and the mistreatments he suffered. Perhaps, it is only natural to feel contempt toward those who have made life so hard. “If you prick us, do we not bleed?” (III.i.57) The anti-Semitic views add to the comedy by casting Shylock’s characterization as ultimately ambiguous. Conclusion The controversial aspects of these plays raise a number of pertinent questions for the relation of art and society. While the racial prejudices demonstrated in Othello and The Merchant of Venice, and indeed, the underlining meaning of at least the Merchant of Venice, demonstrate blatant racism and anti-Semitic tendencies, 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 two plays continue to remain embedded in contemporary society. Shakespeare makes apparent that the feeling of hate is timeless, but tolerance is constantly changing. References Burrin, Philipe. (2005) Nazi Anti-Semitism: From Prejudice to Holocaust. The New Press. Dutton, R., Howard, J. (2005). A Companion to Shakespeare's Works: The Tragedies Vol. I. Wiley-Blackwell. Dutton, R., Howard, J. (2005). A Companion to Shakespeare's Works: The Comedies Vol. III. 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. The Merchant of Venice. Shakespeare, William. Othello the Moor of Venice. Read More