Shakespeare’s Challenge of “Black” in Othello During the seventeenth century, in England, dark-skinned Africans became affiliated with negative connotations associated with the word “black” due to the ideologies the English assigned to dark skin. In Shakespeare’s Othello he does not stray from the negativity associated with the word “black.” Throughout the play, Othello is deemed “a moor,” defined in terms of this seventeenth century racial slur, and any time the word “black” is mentioned it is in association with something evil or, dirty, and invoked in opposition to qualities that are deemed fair or pure. This contrast establishes the idea that anything dark carries these negative qualities, but more importantly dark-skinned people in general maligned as evil. Throughout Othello, Shakespeare continuously reinforces the idea of Othello being “the other, ” ultimately justifying characters’ many abusive and cruel descriptions of him. The stereotypical and overzealous descriptions of Othello create a vivid picture of how Africans were regarded in the seventeenth century.
Magic Usually has something to do with Othello's heritage. Othello is charged with using magic to woo Desdemona, merely because he is black, and therefore, "pagan." Yet, Othello does have real magic, in the words he uses and the stories he tells. Magic also reappears when Desdemona's handkerchief cannot be found; Othello has too much trust in the symbolism and charm of the handkerchief, which is why the object is so significant to him. Order vs. chaos As Othello begins to abandon reason and language, chaos takes over.
Half-Caste – My Version John Agard’s poem ‘Half-Caste’ expresses his anger against the derogatory term “half-caste” used against people of mixed race, and highlights the unreasonable and illogical judgements it represents, by comparisons to celebrated mixed art, weather and music which are considered positive and not subject to the prejudices he has witnessed as a Caribbean man living in England. Prejudice, judgement and discrimination are prominent themes in the poem as Agard attacks offensive language used against him; born out of the racial and cultural tensions he experienced England. Agard opens with a direct and accusatory, but nonetheless humorous tone in the first line as he sarcastically asks the reader to “excuse” him, to take notice of the man who, being ‘half-caste’, only has “one leg”. Agard’s mocking of the connotations of “half-caste” continues throughout the poem with a humorous tone that remains interrogatory and entwined anger. Despite the opinions and abuse of his harassers the poetic speaker remains proud of his cultural heritage shown by the use of his native Caribbean dialect.
By comparing Othello’s speeches, Is Othello a racist play? Throughout ‘Othello‘ by William Shakespeare, many of the characters, especially Iago have sworn at Othello by using racial terms ‘an old black ram’. These slurs indicate the ignorance of the characters in the play because they lived in a time when there weren’t that many black people around. It has been said that Othello is a racist play however some other can argue that it is not a play which its theme is based on racism. This can be argued by looking at Othello’s two speeches in the book.
In the tragedy Othello, the characters of Othello, Desdemona and Iago are truly complex in their nature. Othello is complex due to the supposed ‘blackness’ of his skin and his tragic flaw, Desdemona is complex because of her queer personality and her mix of emotions, and Iago is complex because he is a pure villain and he has no clear motive for what he does. Othello is believed to have been a black character, although some see his race as being ambiguous. Either way, Othello is one of Shakespeare’s most complex characters as his life ends in a murder/suicide. At the beginning of the play we see Othello as a noble and valiant general of Cyprus who is highly respected.
Racial progress is a concept relating to equality between races, which is challenged by the two poems; Half-Caste by John Agard and Nothing’s Changed by Tatamkhulu Afrika. Both poems explore the portrayal of racism. Half-Caste is about the subject of treatment against mixed race people being one himself. Likewise Nothing’s Changed is based on discrimination, deliberating about non-whites and whites being treated differently. However John Agard comes across in a sarcastic method and Tatamkhulu clearly shows his anger and opinion in an angry mood.
Sargent Shriver once stated,” The roots of racism lie deep in man’s nature, wounded and bruised by original sin.” So if racism is deeply embedded into “men”, wouldn’t women have the power to undo this sin? In How to Kill a Mockingbird, Calpernia Tate and Lola are two feminine representatives contributing to black rights. Lula’s sense of loyalty is admirable although futile due to her abhorrent tone, enraging white society more than impressing them. While, Calpurnia’s rational approach emphasizes the equity between the white and black races. Showcasing intelligence, manners, and loyalty: Calpernia portrays the perfect black representative, revealing the humanity Negros.
Blanche and Stanley are deeply contrasted characters and many critics have pointed out that Stanley is part of a new America. An America comprised of immigrants of all races with equal opportunity for all, and he a symbol of the American dream. Blanche, however, is left clinging to a dying social system of “aristocrats” and “working class” that is no longer applicable in the 1940s. The Modern reader would likely warm to the more liberal idea that hard work, and not ancestry, is the key to success. Blanche is likely disliked for being prejudiced, and Stanley garners some favour for being the classic hard-working American.
The term “moor” was derived from the name of the country Mauritania but was used to refer to North Africans, West Africans or, even more loosely, for non-whites or Muslims of any origin. North and West Africans living in Elizabethan England were frequently singled out for their unusual dress, behaviour and customs and were commonly referred to as “devils” or “villains.” Moors were commonly stereotyped as sexually overactive, prone to jealousy and generally wicked. The public associated “blackness” with moral corruption, citing examples from Christian theology to support the view that whiteness was the sign of purity, just as blackness indicated sin. Shakespeare’s Othello can be traced to Leo Africanus’ autobiographical travel journals The History and Description of Africa (1526) Othello first appeared on the English stage in 1604, during a complex period in Barbary/English relations. Queen Elizebeth had previously had previously issued edicts, in 1599 and 1601, decrying “the great number of Negars and Blackmoors that have crept into this realm” Some scholars have speculated that Shakespeare wrote Othello to please James I, who had a keen interest in the history of the Turks and their defeat by the Christians in the Battle of Lepantoin 1571.
In his tragedies Shakespeare is concerned with seeming and being, with appearance versus reality, which in Othello these are epitomized in the hypocrite Iago: Hypocrisy is the only evil that walks invisible except to God alone. Shakespeare has held back from introducing Othello directly. Instead Othello had been presented in fiercely racial terms such as “thick lips”, “old black ram”, “Barbary horse”, “lascivious Moor”, “devil”, in the first scene. (Act 1, scene 1) Nevertheless in the second scene through his manner and bearing, Othello immediately counters the uncomplimentary image which has been so painstakingly constructed. He is presented as a man who rejects impulsive action in a way that is soothing and calming.