Under this historical context William Shakespeare writes in 1603 his tragedy Othello: The Moor of Venice, the story of that general "with thick lips" who represents the other, different from the society of the time. One might ask: is Othello a racist text?
By Lucifer, they stole you! Get dressed, soon, for your honor!
They broke your heart! You have been half soul!
And now, at this moment, a black sheep
Is riding your white lamb. Above! Hey!
Top citizens! Play that bell! Get them out of your snoring!
The devil is going to make you grandfather!
Up, I tell you!
In this fragment, Iago uses resources like the animalización and the use of erotic language to put of relevance the savagery and the monstrous thing in Othello. These words provoked a choleric reaction in Desdemona's father, Brabancio, who asks how a girl "so gentle and so modest that only by looking at her she blushes" could "fall in love with whoever looks at her and horrify her" and assures that "no May otherwise err Nature that is neither blind nor meaningless, except for the action of the spells "because only then could his daughter be attracted to a barbarian.
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Rodrigo speaks of the "lascivious Moro" as "a homeless man with no roots and no homeland". From his perspective, then, to be a "Moor of Venice" is to represent a principle of wild disorder housed in the very heart of metropolitan civilization: a "civilized monster." Some critics further claim that the name Othello evokes the term "Ottoman", the name by which the Turkish empire was known, whom the English regarded as Moors and against whom Othello had to fight ( "Courageous Othello, it is necessary for you to go out - and With urgency - to combat the Ottoman ...
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.
Othello's identity in the Venetian society is his role as "the Moor". Few people use his real name when talking about him. When speaking the given quote, Othello is telling the Venetians how he won Desdemona's heart by telling her the story of his life, and he now retells it to the Venetians. This tale-telling is a way of employing the linguistic system to reshape for himself a new identity with more positive connotations than "the Moor" can offer. "The Moor" is an expression the Venetians connect to other expressions in the linguistic system which all have a negative value. Examples are such expressions as "old black ram...
Shakespeare does not give specific details of Othello’s background, however, it is apparent Othello is a dark-skinned outsider. The characters in the play call him the Moor. A moor is a member of a northwestern African Muslim people of mixed Berber and Arab descent. He is referred to as black by several characters including himself. Roderigo even calls him thick-lips which is a racial slur towards African Americans.
However, in scene 1, Iago and Roderigo offer the reader numerous examples of their attitudes toward him. They say “the Moor” or “thick-lips,” referring solely to racial characteristics. They neither use his actual name, nor reference his evident admirable qualities. The reader, having never met Othello, has only this discussion for characterization. When the two go and wake Brabantio, Iago tells him, “… an old black ram is tupping your white ewe” (Shakespeare Act 1, Scene 1).
William Shakespeare’s Othello gains fame for its thematic conflict between appearance and reality, Iago’s motiveless malignity, and the downfall of Othello when he naively believes Desdemona’s without any substantial proof. While all these factors are important, the historical aspects of Othello are even more important because they are the foundation of the more complex concepts the play explores. The context in which the play is written has underlying distinctions between races. Race plays a huge role in Othello because it sets boundaries that cause the tragic hero’s downfall. The introduction to racism occurs when Brabnatio finds out about the marriage of Desdemon and the Moor.
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.
Bradley’s description of Iago as, ‘wickedness incarnate’ reflects Othello’s own recount of Iago’s role in the trgady which caused Othello to be ‘perplexed in the extreme’ and brought about a sence of wrought and anguish.
Othello seems to have a really rough time finding the truth in people. The reasoning behind this is simply the way he acts around people. Although Othello is a cultural and racial outsider in Venice, his skill as a soldier and leader is nevertheless valuable and necessary. He is after all a man in high power and is respected for that simple fact. Essentially, the first impact that is made upon the reader of Othello is not one of high quality. He was called many names of which had to do mostly with his racial background some of these names include “the Moor” (I.i.57), “an old black ram” (I.i.88), and “a Barbary horse” (I.i.113). The two characters that begin the cruel introduction of Othello are two trusted comrades, one being Iago. Right from the start, Iago already begins the demise of Othello. Now since Othello made this decision to trust and simply see the good in everyone rather than the truth in everyone his life got turned upside down and started to take ...
Othello is the Cultural Other in Venetian society, and while he is very learned, it is probable that he is not fully aware of the social and cultural mores that govern Venice. As a Moor, Othello was reared outside Venice, and thus remains separate and exoticized. Although a great military man, and accepted by the elite of Venice, there is still a foreign-ness to him. The characters in the play, for the most part, call Othello "the Moor" (1. 1. 37, 1. 1. 161, 1. 2. 56). By calling Othello "the Moor," his proper name is taken away and he is left as an object. He is only accepted because of his military prowess, and seems to be used almost as a commodity; he is sent to Cyprus, with little warning--almost at the whim of the Duke. It is only because he is valuable to Venice that he is not punished for marrying the white Desdemona; Brabantio's anger is a clear indication that miscegenation is not an acceptable practice. Therefore, being a stranger to Venetian society, even a vague inkling that he is only a body used to fight may lead to insecurity that only exacerbates the deep-seeded, pre-existing ...
Othello, from the onset, is shown to us a play of love and jealousy. There is however more to this play than just love and jealousy; there is underlying racism, hate, deception, pride, and even sexism between these pages. Othello is a transcendent play, one that will survive the perils of time simply because it is still relevant. Even today, over 400 years later, there are still issues of racism and sexism. Hate is as natural as love in humans and Othello gets right to the root of that. We witness this from the very first scene, “…you’ll have your daughter covered with a Barbary horse/ you’ll have your nephews neigh to you” (I.i.112-14); to the very last, “Moor she was chaste. She loved thee, cruel Moor” (V.ii.258). Moor however is used as an insult all throughout the play; not so much the word itself but the feel of the word. Between these pages we see many different ways as to how the cultural differences between Othello and the other characters.
One of the few characteristics that harms, rather than helps him, is that he is dark-skinned in a society utterly dominated by men prejudiced against those with dark skin. At the start of the play, he appears confident that, " My parts, my title, and my perfect soul / Shall manifest me rightly." (1, 2, 36-37) But Iago makes sure to use Othello's race against him as much as possible.
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.
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.
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.