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Critical interpretations of Othello
- Module
- Unit 1 - Drama
- Institution
- PEARSON (PEARSON)
Different critical perspectives of Othello - including Marxist, Feminist, Post-Colonian and New-Historicist
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By: evmckimm • 6 months ago
By: mischacarr1 • 6 months ago
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Post-colonial; "something from Cyprus" Focus on the Ottoman Turks' representation
Othello originated from a short narrative in Giraldi in 1565 but
Shakespeare set it in the midst of Venice and the Ottoman Empire's
struggle during the 1570s (as the Ottoman Empire was in control of
Cyprus, which overlooked the shipping lanes between Europe and trading
centers in the East)
In 1571, Turkish forces seized the island but an alliance of Christian
powers defeated the Turks
The play's constant referencing to "the Turk" or "turning Turk" show the
conflict between the Islamic Ottoman Empire and Christian European
powers = clash of religion
Many English writers demonized the Turks and Ottoman Empire as being
barbaric and cruel despite admiring its military successes and
bureaucratic structure
Shakespeare draws upon the Christian-Turkish binary and undercuts it by
making the villainous Iago a Venetian and its hero an outsider
"Moor" was often a term to describe Muslims
Othello is an outsider despite being respected and leading the army
Much like the Island of Cyprus, Othello is caught in the middle; neither
European or Turk, but embodying both
In his suicide he highlights his service as being a Christian hero by killing
the "turbaned Turk" within, who "beat a Venetian and traduced the state"
Conflict is not limited to Ottomans versus Europeans; Othello's blackness
and his background as a foreign mercenary shows the hybridity of post-
colonials
New historicist; "far more fair than black"
Many debate whether or not race was a factor in early modern
representations of non-Europeans
When first performed, it is likely that Othello's race was not as important
as it is for us today
Michael Neill explains that to pay attention to race means we "fall into
some degree of anachronism" whereas if we don't, we ignore a factor
"fundamental to the tragedy"
Performing it has hence been appropriated worldwide
Iago calls Othello "thick-lips" in the opening scene and later raises a toast
to "the health of black Othello"
Othello is a black African of sub-Saharan origin
In 1604, England was not formally part of the slave trade but as early as
the 1560s, they were buying and selling Africans and Shakespeare may
well have known some of them
Iago and Brabantio's remarks pass as racism nowadays, but the Duke's
comment that Othello is "far more fair than black" would have been a
great compliment
Feminist; "a maiden never bold"
Brabantio calls Desdemona "a maiden never bold", yet by choosing a
black husband she has violated the Venetian norm of arranged
endogamous marriages and rejects her father's authority
She still respects that once married, she must submit to her husband ("I
do perceive here a divided duty")
Emilia too remains loyal to Iago. Even after she realizes his villainy, she
admits "tis proper I obey him, but not now"
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