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For many years, people have been keen in associating Shakespearean plays with racial prejudices, perhaps to determine whether Shakespeare was a racist or not. Shakespeare’s use of characters of color, for instance, has raised controversies and even curiosity on what role does race contributes in his plays. It should be noted that racism or the belief that one’s race is superior to another is already observed in 16th century Europe. It was during this time when Europeans become increasingly engaged with people of different racial origins, especially with the dark skinned people of the East. The crusades, for instance, have greatly contributed to the interaction of Europeans with the Oriental people of Asia Minor and Northern Africa. These military expeditions of Europeans to take the Holy Land from the invading moors that spanned two centuries did not only result to the deteriorating relationship between Christian Europe and the Islamic East, but also has a racist impact on both cultures as each one formed their own opinion towards each other (Housley 189). However, the issue of race during the time of Shakespeare is, arguably, not as degrading as the concept of racism is in today’s context. In fact, scholars observed that most Europeans view people of color with fascination and curiosity more than they view them with animosity or resentment (Bartels 434).
The Moors, in particular, have a rather obscured reputation in the English society. As observed by scholars, “While blackness and Mohammedism were stereotyped as evil, Renaissance representations of the Moor were vague, varied, inconsistent, and contradictory” (Bartels 434). In understanding Shakespeare’s ‘Othello,’ the question about race could not be ignored primarily because the main protagonist, Othello, was described as a Moor. Moreover, there were certain lines in the play that suggests racial insults such as when Iago referred to Othello as a ‘Barbary horse’ and that by letting Desdemona marry Othello, Brabantio, Desdemona’s father is going to taint his bloodline with Moorish blood, which Iago compared to a horse (Othello, The Moor of Venice 10). As stated by Iago, “you’ll have your daughter covered with a Barbary horse; you’ll have your nephews neigh to you; you’ll have coursers for cousins and gennets for germans” (Othello, The Moor of Venice 10). It is quite easy to confuse that these lines reveals Shakespeare’s racial prejudice towards blacks. But looking into the context of English culture during the Elizabethan era, it would appear that Shakespeare’s racially charged statements in Othello may be regarded as insignificant primarily because racial prejudice during his time is not as severe as it is today.
The Moors is known to have originated in North Africa. According to historians, the name Moors came from the Greek word, ‘maures,’ or the Roman word, ‘maurus,’ which means ‘dark’ (Van Sertima 4). The Moors, however, are often differentiated from Black Africans by referring to them as tawny or light-skinned. Some scholars believe that Shakespeare’s Othello is not black, but a Caucasian Moor that may have originated from Barbary, a region in North Africa that includes “modern-day Morocco, Algeria, Tunisia, and Libya” (Othello, The Moor of Venice 232). Some historians trace Moorish roots from the intermarriage between the black Africans of North Africa and the Caucasian Semites of Asia, specifically the Libyans whom they have attacked and defeated during the reign of Menes, an Egyptian monarch at around 3000 B.C. (Van Sertima 5). Accordingly, the light-skinned Libyans intermarried with the Black Egyptians to become the “tawny Moors” or “white Moors” (Van Sertima 5). The Moors are also called by the name ‘Berber,’ which was derived from the Roman word, ‘barbari’ or barbarian (Van Sertima 5). The barbaric reputation of the Moors, however, is counterbalanced by their interesting culture. It should be noted that the Moors had a flourishing civilization. In fact, historians believe that the Moors have been constantly intruding Southern Europe since 1000 B.C. and even dominated the Iberian Peninsula during the 7th and 8th century (Van Sertima 1). At the peak of their power, the Moors have placed the Iberian region, specifically Spain under Islamic rule (Othello, The Moor of Venice, xviii; Van Sertima 4). The eventual defeat of the crusaders from these oriental people has even increased the Moors’ fearsome reputation in Europe. It is also well known in Europe that the Moors are not only fierce fighters, but also has “vast knowledge of art, architecture, medicine, and science, much of which they inherited from the Arabs and ancient Greeks” (Othello, The Moor of Venice xix).
It is, thereby, inaccurate to say that Shakespeare has racial prejudice in Othello. Apparently, he was not referring to Othello as being barbaric and uncivilized, but rather an exotic outsider who failed not because of his being a Moor, but because he was conspired and plotted against by the people that he trusted. In Shakespeares perception and perhaps in the perception of most of the Englishmen in Shakespeares time, Othello as a Moor is not only a fierce and brave warrior, but also perceived as “a north African man, well educated, and raised in the Muslim faith” (Othello, The Moor of Venice xix). Resentment towards Othello, as described in the play, is not because of his being of inferior race, but because of his state of being different. Moors, for instance, are often depicted as “strange and foreign enemies of Christianity, given to heathen practices such as witchcraft and voodoo,” which explains why Desdemona’s father, Brabanto, was anxious that his daughter may have been subjected to some sort of enchantment or sorcery by Othello (Othello, The Moor of Venice xix). It is likely that European’s resentment towards people of color during the time of Shakespeare is founded on fear rather than prejudice or animosity. The Moors, for instance, have a fearful reputation of being “subtle, stubborn, bestial and intolerant” (Alexander, & Wells 3). Although the English have established a diplomatic relationship with the Moors, most white people during Shakespeare’s time view dark-skinned foreigners with hostility and suspicion as they are often portrayed as villains in English literature (Othello, The Moor of Venice xix). For the same reason, the portrayal of a Moor as a protagonist in an English play is quite unusual and even unconventional during the Elizabethan era. Nevertheless, it reflects the inconsistent and conflicting views on racism during Shakespeare’s time. Othello, for instance, is depicted as a valiant general, despite the fact that he is an outsider in European society. It would be paradoxical or self-contradictory if being a Moor is demeaning. Othello, for instance, is described as a noble Moor, which means that Shakespeare’s demeanor towards Othello is far from being racist, because it would appear then that he is contradicting himself.
It can be deduced that the issue of race in Othello is only superficial. Most likely, Shakespeare used the race issue to describe his protagonists in order to create controversy and not to suggest racial prejudice. In fact, if there is any racist hint in Othello, successfully countered it by portraying Othello as a noble and eloquent foreigner, worthy of respect of his Venetian employers. In a time when Moors are ridiculed because of their barbaric nature, Othello was a contradiction because he is not barbaric or uncivilized at all. On the other hand, one might point out to Othello’s race as Shakespeare’s leverage for justifying Othello’s aggressiveness towards his wife at the later part of the play. It is quite possible to speculate that Shakespeare consciously made Othello a Moor so he can validate the death of Desdemona from Othello’s hands. As if to say that Othello’s barbaric side emerged when he became jealous of Desdemona. Such assumption, however, would violate the development of Othello’s character. Apparently, his downfall was not of his doing. In fact, one might say that Othello was powerless because he knows nothing about the conspiracy led by Iago to ruin him. Othello’s responses, for instance, are just natural responses to anyone who faces a similar scenario. If given a similar scenario, it is quite likely that an English gentleman would also act similarly out of rage and jealousy. It was, therefore, human nature that motivated Othello from acting aggressively towards his wife, which resulted in the death of the latter.
On the contrary, Shakespeare’s portrayal of Othello is even anti-racist. One important thing to note in the play is on how Brabantio is more concerned about his daughter’s disobedience than Othello’s color or race (Orkin 169). When Brabantio first learned that his daughter, Desdemona, eloped with Othello, his initial reaction was not racially charged. In fact, his first proclamation with regards to the matter was “Fathers, from hence trust not your daughters’ minds” (Othello, The Moor of Venice 13). It is also interesting to note that Brabantio’s lamentation is more focused on his daughter’s “deception and betrayal rather than the inter-racial nature of his daughter’s marriage” (Orkin 169). The Venetian court, also, does not appear to be affected in any way by Othello’s race. As observed by scholars, the Venetian court even outrightly ignores any racist remarks towards Othello and even consider him as noble and “all in all sufficient” (Orkin 169). It is quite plain to see that the race of Othello is of little concern to Shakespeare as well as to the audience during his time. For the same reason, it is not far fetched to assume that the issue of race in Shakespeare’s time is not yet as important as most people see it today. However, although the function of race in Othello is minimal and can be ignored without significant impact to its literary analysis, Othello as a Moor who experienced oppression and victimization elicits an emotional response. Somehow, Othello being a moor magnifies the emotions of sadness and empathy, which must be the major objective of Shakespeare as to why he choose to portray Othello as a moor. The function of race in Shakespeare’s Othello is, therefore, not based on racism, but rather to give more diversity and dramatic quality of the play.
Works Cited
Alexander, C., & Wells, S. Shakespeare and Race. 2000. March 2016 <http://catdir.loc.gov/catdir/samples/cam032/99089004.pdf>.
Bartels, E. Making more of the Moor: Aaron, Othello, and Renaissance Refashionings of Race. 1990. March 2016 <http://npproseminar.pbworks.com/f/Bartels,%20Making%20More.pdf>.
Housley, N. The Crusades and Islam. 2007. March 2016 <http://users.clas.ufl.edu/ncaputo/euh4930-08/articles/hously.pdf>.
Orkin, M. Othello and the "plain face" Of Racism. 1987. March 2016 <http://wikidshakespeare.pbworks.com/f/othello%2520and%2520the%2520plain%2520face%2520of%2520racism.pdf>.
Othello, The Moor of Venice. 2005. March 2016 <http://www.emcp.com/previews/AccessEditions/ACCESS%20EDITIONS/Othello.pdf>.
Van Sertima, I. Golden Age of the Moor. 1991. March 2016 <http://www.thegoyslife.com/Documents/Books/49153823-Golden-Age-of-The-Moor-Ivan-Van-Sertima.pdf>.
