A Literary Analysis Paper on Othello Racism, Essay Example

Othello is probably the most controversial play of Shakespeare, one that portrays a charismatic moor in the backdrop of a Venetian society. From the reading of the first act of Othello, there is an inherent reference to racial prejudice. The hero is called by disparaging terms like “moor” and “thick lips”; a typical attempt to reveal the racist ideologies in Shakespearean time. It is surprising however, that Othello in no way fits the limiting and racist description of Iago and Roderigo…he is sketched as a man of greater wisdom and valor. Thus Shakespeare presented his hero not as a racist stereotype, but as a man who was a victim of Venetian racism.

There is a bipolar view generated within the critics, regarding the controversial nature of the play. Some critics point out that Shakespeare emphasized on the human attributes of an individual rather than artificial facades of birth, race or origin. A.C. Bradley, for example, asserts that “in regard to the essentials of his character” Othello’s race is unimportant, and that Shakespeare would have laughed if anyone had congratulated him on “the accuracy of his racial psychology.”[ 1] To Shakespeare, the weight of critical tradition, then, presents a Shakespeare who finds racial and cultural difference insignificant and who assimilates his Moor into the “human” condition.[ 2] Shakespeare’s moor of Venice, was articulated during the evolving tensions in England. Thus his story may also be a glimpse of the contemporary social stigma of racial difference,  As Lois Whitney has shown, moreover, “ many of Othello’s specific attributes probably derive from Shakespeare’s reading of Leo Africanus, whose Geographical Historie of Africa, translated by John Pory, was published in London in 1600.[ 3] Some critics argue that Shakespeare suffered from racial skepticism, for Gerard, “Othello’s negroid physiognomy is simply the emblem of a difference that reaches down to the deepest levels of personality. . . . Othello is, in actual fact, what Iago says he is, a ‘barbarian’.” [ 4] Laurence Lerner calls Othello “the story of a barbarian who (the pity of it) relapses” and concludes that Shakespeare “suffered from color prejudice.”[ 5]. Shakespeare may also have portrayed the typical attributes of Moors- like their anger, their barbarism and the stereotypes which had a negative impact on the Elizabethan era, and according to G.K. Hunter and Eldred Jones, in particular, have argued that Shakespeare invokes the negative Elizabethan stereotypes of Africans only to discredit them. Jones praises Shakespeare for his “complete humanization of a type character.” [ 6] , and at the end of the play we realize that Othello is not a stereotype, he tends to lose his individuality as a Moor and to become a representative of humanity.

Shakespeare has focused on the fact, that a man should not be treated as a negative stereotype of his race, and that all men from the same culture did not necessarily possess the same negative qualities. There were exceptions to the rule and belief. . As Whitney makes clear, he seems to have constructed not a member of a particular society but a composite “African,” a synthesis of details drawn from Leo’s descriptions of both “tawny” and “black” Moors.

Typical of the Venetian culture, moors were treated with contempt and scorn. Yet, Shakespeare created a hero from the remnants of oppression and slavery. He transformed a “veritable negro” into a Venetian general and a nobleman.  He raised the moor in the eyes of the society as well as in the political system with definitive powers of gallantry and leadership. He developed a strong character admits all the criticism and turmoil. But could Othello keep up to the expectation of a Venetian hero is the area of much speculation? “African” attributes that Shakespeare probably took from Leo Africanus, we can see in the characterization of Othello complex gestures towards cultural differentiation. Othello’s “African” qualities are presented from two sides. Iago calls Othello a “credulous fool” (IV.i.45), for example, but he also alludes to his “free and open nature” (I.iii.399).[ 7] Othello’s pride appears at times as vanity, at times as rightful self-respect. His passionate nature leads to murderous violence, but it also contains deep love and tenderness. His courage serves him well in war but is ill-adapted to the complexities of peace.[ 8] Othello was not a stereotype but the continuous inducement of Iago Iago do bring to the surface what seem to be latent or repressed aspects of his “Moorishness”: his inalienable passion, for example, his superstitious interpretation of the handkerchief, or his belief in ritualistic attempt to make the murder of Desdemona a sacrifice. These attributes signify his original Moorish background but does in no way repulses the human and loving nature of Othello. According to Margaret Webster, “Here was a great man, a man of simplicity and strength; here also was a black man. We believed that he could command the armies of Venice; we knew that he would always be alien to its society.” [ 9] Othello is subjected to Venetian racism from the hate related racial allegory of Iago; the racial diasporas of his insecurities, and the alienation from his relationships, where Othello surrenders to the racial victimization of his own inner self. Thus these sources in the play are in constant thematic connotations trying to ensemble the racial inequality by aversive words and dichotomy.

The alienation in his relationships from the duke, Iago, Barbantio, Desdemona (though unaware of) made Othello a circumscribed victim of Venetian racism. Othello was proud of his valor and his triumph over the Turks.  His victorious image and his gallantry made him a popular Venetian nobleman in the society. He took immense pride and confidence in his hierarchy and when his marriage was under challenge, he rests his defense upon his abilities, his rank, his virtue, and his service to the state but in vain. His heroism could not influence the thinking of the people about him. Barbanito, “He accuses Othello of being a “foul thief,” of being “damned,” of arousing Desdemona’s love by witchcraft (I.ii.62), of working against her by “practices of cunning hell” (I.iii. 102), of being a bond-slave and pagan (I.ii.99). His acts of valor could not camouflage his background. Othello was never wary of his black complexion and never literally expressed any concern or complex over his physical looks. However, he could feel the negative impulse of his men and the society around him. As Stephen Greenblatt has argued, Othello’s “identity depends upon a constant performance . . . of his ‘story,’ a loss of his own origins, an embrace and perpetual reiteration of the norms of another culture.” [ 10] Being a man of such a high caliber, there could have been no prefixes or hurdles in his getting married to Desdemona. But Othello had to elope and marry Desdemona in seclusion because of his status as a black. No facets of heroism or bravery could compensate his status …and had to fight for his love in a trial before the Duke. He was not allowed to marry Desdemona only because he was a Moor. “If virtue no delighted beauty lack, / Your son-in-law is far more fair than black” (I.iii.289-90). Thus he was in contemplation of neglect and taunt from the society and the threat represented by Othello’s blackness could not even be extinguish by Turkish invasion as Brabantio’s parting words make clear: “Look to her, Moor, if thou hast eyes to see, / She has deceiv’d her father, and may thee” (I.iii.292-93). Thus we feel for our hero and consider it as an arbitration to use racial identity as a yardstick in evaluation of the vulnerability of a great man. We find a portrayal of grief and immense pessimism as we see a Christian convert, energetic and proud of his existence only to find a lurking anxiety within his state of mind, trying hard to be accepted in the community and to cope with his alienation.

Racial victimization by Iago: Could Iago use the latent insecurity of Othello and make him a victim of his own racial prudence? Iago was Othello’s ensign and he aspired to rise in the ranks the army. However, Othello promotes Florentine Michael Cassio to the position of personal lieutenant, Iago is infuriated. He gets immensely upset and plans to plot against Othello to avenge his insult. The most dramatic response to Othello’s blackness within the play are those of Iago and Roderigo in the opening scene. They were in strong vehemence ploying in overt and vicious racism against Othello and provide the background for Othello’s first appearance. For Iago Othello is “an old black ram” (I.i.88), “the devil” (I.i.91), and a “Barbary horse” (I.i. 111); the consummation of his marriage is a making of “the beast with two backs” (I.i. 115-16). Roderigo, who shares Iago’s disgust, speaks of Desdemona’s “gross revolt” (I.i. 134) and the “gross clasps of a lascivious Moor” (I.i. 126). They besiege his African stereotype identity in the Elizabethan brethren, which symbolizes blackness as ugliness, treachery, lust, bestiality, and the demonic. This poisonous image of the black man, influence and induces Othello’s judgment of himself.

Othello and his relationships: Did the good people in the live of Othello save him from the ridicule of being a Moor? It is indeed sad to say, that all the relationships of Othello though in unknown conscience address him in reference to his identity. Let us talk about the relationship of Othello and Desdemona. Her father could not believe that Desdemona is in actual love with Othello because, “ and she, in spite of nature, / Of years, of country, credit, every thing, / To fall in love with what she fear’d to look on!” (I.iii.96-98) and Iago also asserts to Othello that she “seem’d to shake and fear your looks” (III.iii.207). ). The other instances when Desdemona provides implicit confirmation to the Duke about her marriage “I saw Othello’s visage in his mind” (I.iii. 252). These words implied that Desdemona tries to distinguish between the humanity and his physical attraction of Othello. She is also aware of the awkward insinuations in the looks of her husband and exhibited that it was not his exterior appearance but his valor that has persuaded her to be in love. The most pathetic and subtle indication of racial bias in Desdemona is when she answers Emilia’s rhetorical question–“Is he not jealious?”–with, “Who, he? I think the sun where he was born / Drew all such humors from him” (III.iv.29-30). Thus one do not fail to notice the pun and cynicism in her voice as it is a Victorian cliché, for the linkage between hot climates and hot passions. The cultural gap between Othello and Desdemona confirms John Bayley’s observation that the play is “a tragedy of incomprehension, not at the level of intrigue but at the very deepest level of human dealings.” [ 11]

Emilia is an even subtler study in latent racist feeling for Othello. SHe never passes racist remarks for Othello until the time when Othello kills Desdemona. . Having exposed his evil, Othello becomes for her a “blacker devil,” the phrase revealing that in her imagination he has always been a black devil. He also becomes Desdemona’s “most filthy bargain” (V. ii.157), a creature “as ignorant as dirt” (V. ii.164).

Victimization of his own feelings: Othello was victimized by Iago but more than that it was a manifestation of his internal conflict. He suddenly became aware of his black looks and compared himself to the good looks of Cassio. His insecurity gained momentum and his sadistic self thought that his wife cheated him for his black origin. In his diseased imagination she becomes, paradoxically, the stereotype of the Moor: cunning, “black,” sexually depraved, and diabolic. He calls her at various times a “slave” (III.iii.442), a “lewd minx” (III.iii.476), a “fair devil” (III.iii.479), and a “subtile whore” (IV. ii.21). Later he understood the plot of Iago and finally contemplates and takes his own life and condemns himself as, : “O cursed, cursed slave! / Whip me, ye devils, / From the possession of this heavenly sight!” (V.ii.276-78). Thus the tragedy of the story encircles the apathy of hero for being born as a black who came to survive in a white dominated society.

Conclusion: Shakespeare crafted a brave man with inherent virtues of love, allegiance coveted passion and above all a man of genuine human qualities. He may not have been born in the womb of typical Venetian society, but his qualities were essentially Venetian. While the other characters that Shakespeare envisaged were malice and evil, in spite of roots and blood from the Venetian origin…it shows that good prevails over all human artifices of race, culture and ethnicity. What matters are the true spirit of goodness and not a stereotype of a particular race… Thus his protagonist might have been a black moor…only to be the most sublime and great men of the era of the time. His looks and his background was in no way related to his pertinent character but the tragedy lies in the fact of him being a victim of Venetian racism.

Reference

C. Bradley, Shakespearean Tragedy (1904; rpt. London: Macmillan, 1941), p. 187.

For an illuminating recent exception, which aligns Othello’s marginality with Desdemona’s, see Karen Newman, “‘And wash the Ethiop white’: femininity and the monstrous in Othello,” in Jean E. Howard and Marion F. O’Connor, eds., Shakespeare Reproduced (New York: Methuen, 1987). I should also except many members of two seminars I organized in 1988-89: one for graduate students at the University of Victoria, the other for colleagues at the annual meeting of the Shakespeare Association of America. My thanks to both groups for ideas that I know I have assimilated but cannot with any confidence now attribute to individuals.

Lois Whitney, “Did Shakespeare Know Leo Africanus?” PMLA 37 (1922):470-83

Albert Gerard, “‘Egregiously an Ass’: The Dark Side of the Moor. A View of Othello’s Mind,” in Aspects of’ “Othello,” ed. Kenneth Muir and Philip Edwards (Cambridge: Cambridge Univ. Press, 1977), p. 13.

Laurence Lerner, “The Machiavel and the Moor,” EIC 9 (1959):360

Eldred Jones, Othello’s Countrymen (London: Oxford Univ. Press, 1965), p. 109.

All citations are to The Riverside Shakespeare, ed. G. Blakemore Evans (Boston: Houghton Mifflin, 1974).

Shakespeare’s complex handling of Othello’s “Moorish” characteristics is analyzed by K.W. Evans in “The Racial Factor in Othello,” ShStud 5 (1969): 124-

Margaret Webster, Shakespeare Without Tears (1942; rpt. Cleveland: World Publishing, 1955), p. 236. For a verbal study of the role of color in the play, see Doris Adler, “The Rhetoric of Black and White in Othello,” SQ 25 (1974):248-57.

Stephen Greenblatt, Renaissance Self-Fashioning (Chicago: Univ. of Chicago Press, 1980), p. 245. Greenblatt’s essay focuses not on racial norms but on Iago’s manipulation of Othello’s belief in the repressive Christian doctrine of sexuality.

John Bayley, The Characters of Love (London: Constable, 1960), p. 146