THE PRESENTATION OF A MOOR MULSIM IN THE

SHAKESPEARE’S OTHELLO

BY

MUHAMMED SHAMIL PP

AD.NO: 327

REG.NO: 210460

DARUL HASANATH ISLAMIC COLLEGE

KANNADIPPARAMBA, KANNUR

(Affiliated to Darul Huda Islamic University)

"And Allah made it not but good tidings, and so that your hearts would be assured thereby.

And victory is not but from Allah. Indeed, Allah is Exalted in Might and Wise." (8:10)

II
 ABSTRACT

The presentation of Muslim and Islam had an effective impact on the Elizabethan period.

Muslims (Turks, Moors, Arabs and Persians) were portrayed as foreigners, infidels, lustful,

and barbarians. Islam was regarded as a great threat to Europe while the Ottoman empire

was expanded in socio-cultural aspects. This study focuses on the plights of Muslim and

stance of Islam in Elizabethan age along with their relationships each other. The

Elizabethan writings were influenced by the stories narrated about Muslims from captives

and travelers. Further, Elizabethan people treated with distorted image toward Muslims’

characterization. William Shakespeare (1564-1616), in his well-known play ‘Othello’,

presented a contentious portrayal of a Muslim, many conflicts remained on the character

who converted to Christian. This study aims to analyze Othello as a ‘Moor Muslim’. As a

result of this study, will shed light on ‘How Islam and Muslims were in Elizabethan theatre

and the Western concept of Eastern, in which since began ‘Islamophobia’.

Keywords: Elizabethan age, Islamophobia, Moor, Muslims, Othello, Ottoman.

III
 ‫ملخص‬

‫كانت تقديم المسلمين واإلسالم له تأثير ف ّعال على العصر اإلليزابيثي‪ .‬تم تصوير المسلمين (الترك‪ ،‬والموروث‪،‬‬

‫كبيرا ألوروبا بينما كانت‬

‫والعرب‪ ،‬والفرس) على أنهم أجانب‪ ،‬وكفار‪ ،‬وشهوانيين‪ ،‬ووحشيين‪ .‬كان يُعتبر اإلسالم تهديدًا ً‬

‫اإلمبراطورية العثمانية تتوسع في الجوانب االجتماعية والثقافية‪ .‬تركز هذه الدراسة على محنة المسلمين وموقف اإلسالم‬

‫في العصر اإلليزابيثي مع عالقاتهم المتبادلة‪ .‬كانت الكتابات اإلليزابيثية متأثرة بالقصص التي سردها األسرى‬

‫والمسافرون حول المسلمين‪ .‬وعالوة على ذلك‪ ،‬كانت الشعب اإلليزابيثي يعاملون المسلمين بصورة مشوهة‪ .‬قدم ويليام‬

‫مثيرا للجدل لمسلم‪ ،‬وظل هناك العديد من النزاعات‬

‫ً‬ ‫تصويرا‬
‫ً‬ ‫شكسبير(‪ )1616-1564‬في مأثورته المعروفة 'عثيلو'‬

‫بشأن الشخصية التي اعتنقت المسيحية‪ .‬تهدف هذه الدراسة إلى تحليل عثيلو كـ 'مسلم مور'‪ .‬نتيجةً لهذه الدراسة‪ ،‬ستسلط‬

‫الضوء على 'كيف كان اإلسالم والمسلمون في المسرح اإلليزابيثي والمفهوم الغربي للشرق‪ ،‬حيث بدأت "رهاب‬

‫اإلسالم"‪.‬‬

‫الكلمات الرئيسية‪ :‬العصر اإلليزابيثي‪ ،‬رهاب اإلسالم‪ ،‬المور‪ ،‬المسلمون‪ ،‬عثيلو‪ ،‬العثماني‪.‬‬

‫‪IV‬‬
 DECLARATION

I do herby declare that this dissertation is the result of my own research, except where

otherwise stated. I also declare that it has not been previously or concurrently submitted as

a whole for any other degrees at DHIU or other institution.

MUHAMMED SHAMIN PP

AD NO: 327

NUSRATH MANZIL PARAPPURAM, PO KANNADIPARAMBA

PIN: 670604, KANNUR, KERALA

TEL NO: 8547356209

E-MAIL: shamihairu@gmail.com

signature........................................................ Date........................................

V
 To my wonderful parents, sisters

who always picked me up on time and

encouraged me to go on every endeavor,

especially this one

&

To our honorable teacher

Ustad Sayyid Ali Hashim Ba’Alawi

VI
 ACKNOWLEDGEMENT

In the name of Allah, Full of Compassion, Ever Compassionate. All praises be to Allah the

Lord of the Universe. Let His regards and salutations be upon the Holy Prophet Muhammad

(PBUH) and his family and companions.

For the completion of this thesis, I would like to thank my respected supervisor USTHAD

SAYYID ALI HASHIM NADWI for having given generously of his precious time,

guidance, and moral support. I wish to express my special gratitude to USTAD SALEEM

HuDAWI for the careful attention he gave this thesis and for his valuable suggestions and

critical assessment.

I wish to express my deepest gratitude to Darul Hasanath Islamic Collage where I pursued

my studies for a decade, for sponsoring my study. My acknowledgements would be

incomplete if I did not extend the token of appreciation to all my teachers, especially

USTAD SALEEM HUDAWI, his constant guidance paved the way for me to accomplish

this, my family, well-wishers, friends, and students in Darul Hasanath Islamic Collage.

May Allah, the almighty, bestow His rewards and blessings on them all.

Finally, I state that I am alone responsible for the entire faults that remain in this thesis.

May Allah accept this humble attempt and make it fruitful for this life and hereafter,

Aameen.

VII
 CONTENTS

ABSTRACT ................................................................................................................... III

‫ ملخص‬.............................................................................................................................. IV
DECLARATION ............................................................................................................ V
ACKNOWLEDGEMENT ........................................................................................... VII
CHAPTER ONE .................................................................................................................. 1
INTRODUCTION TO STUDY ........................................................................................... 1
1.1 INTRODUCTION: .................................................................................................... 1
1.2 REVIEW OF LITERATURE: ................................................................................... 1
1.3 STATEMENT OF PROBLEM .................................................................................. 3
1.4 RESEARCH QUESTION:......................................................................................... 3
1.5 RESEARCH OBJECTIVES: ..................................................................................... 4
1.6 METHODOLOGY: ................................................................................................... 4
1.7 SCOPE OF STUDY:.................................................................................................. 5
1.8 ORGANIZATION OF STUDY: ................................................................................ 5
CHAPTER TWO ................................................................................................................. 6
OTHELLO: MOOR AS A “LABEL”.................................................................................. 6
2.1 MOORS IN SHAKESPEARE’S ENGLAND ........................................................... 6
2.1.1 Modern Europeans About Moor ................................................................................. 6
2.1.1.1................................................................................................................................... 6
2.1.2 Representation Of Othello ...................................................................................... 7
2.1.2.1 As A Foreigner .......................................................................................................... 7
2.1.2.1.2 Connection Between Moor And Islam ............................................................... 7
2.1.3 Moor As A Label .................................................................................................... 7
2.1.3.1 Other Interpretations On Othello ............................................................................. 8
2.2 IDENTITY OF OTHELLO ....................................................................................... 9
2.2.1 Concerns Over Othello’s Identity ........................................................................... 9

VIII
 2.2.1.1 Stereotyped Character ........................................................................................... 10
2.2.1.2 Modern Concept Of Moor ...................................................................................... 10
2.2.2. Racial Status: “Otherness ................................................................................. 11
2.2.2.1 Central Factor Of The Play...................................................................................... 11
2.2.2.2 Being An Outsider................................................................................................... 12
2.2.2.3 Other Interpretations Over Otherness ................................................................... 12
2.3 QUESTION OF OTHELLO’S RELIGION ............................................................................ 13
2.3.1 Moor Muslim In Shakespeare’s Lines .............................................................. 13
2.3.1.1 Religious Conflict: Statement Of Critics On Othello ................................................ 15
2.3.1.1.1 Relation Of Moor Into Where? ........................................................................ 15
2.3.1.2 Religious Intricates From Othello ........................................................................... 15
2.3.1.3 Religion: Othello From The Evidences .................................................................... 16
2.4 CONCLUSION................................................................................................... 16
CHAPTER THREE ........................................................................................................... 18
MUSLIMS IN THE ELIZABETHAN AGE ..................................................................... 18
3.1 PERSPECTIVE ABOUT ISLAM AND MUSLIM ................................................. 18
3.1.1. Anglo-Islamic Relation ........................................................................................ 18
3.1.1.1 Image Of Ottoman Empire And Islam .................................................................... 18
3.1.1.2.1 Portrayal Of Muslims ...................................................................................... 19
3.1.1.3 Anglo-Safavid Trade ............................................................................................... 20
3.1.1.3.1 Political-Religious Alliance............................................................................... 20
3.1.1.3.2 Alliances Mirrored On Stage ........................................................................... 20
3.1.1.3.2.1 Burning Of Qur’an ................................................................................... 21
3.1.2 Elizabethan Presentation Of The Qur’an .......................................................... 21
3.1.2.1 Qur’an As A Turkish Book ....................................................................................... 21
3.1.2.2 Presentation Of Islam From The Writers ................................................................ 21
3.1.2.2.1 Upsurging Journey Of Elizabethans To East .................................................... 22
3.1.3 Conversion To Islam ......................................................................................... 22
3.1.3.1 Widespread Conversion.......................................................................................... 22
3.1.3.1.1 Islam As A Threat ............................................................................................ 23
3.1.3.2 Turn A Turk ............................................................................................................. 23
3.1.3.2.1 Commanders And Betrayers From Conversion................................................ 23

IX
 3.1.3.3 Perspectives On Qur’an .......................................................................................... 24
3.2 ELIZABETH AGE AND OTTOMAN .................................................................... 24
3.2.1 Elizabeth Tudor ................................................................................................. 24
3.2.1.1 Political-Religious Division...................................................................................... 25
3.2.1.2 Division Into Two Groups By Pope .......................................................................... 25
3.2.1.2.1 “The Elizabeth Age” ........................................................................................ 25
3.2.1.3 Relationship With East ........................................................................................... 25
3.2.1.3.1 Anglo-Ottoman Relationship ........................................................................... 26
3.2.1.3.2 English Reaction To Muslim Power .................................................................. 26
3.2.1.3.2.1 Distorted Version...................................................................................... 26
3.3 ELIZABETHAN ORIENTALISM .......................................................................... 27
3.3.1 Oriental Nations And Ottoman ......................................................................... 27
3.3.1.1 The East Rather Than Spain ................................................................................... 27
3.3.1.1.1 Oriental Trade And A Way To India, The Far East ............................................ 27
3.3.1.1.2 Cathaia And Moluccae .................................................................................... 28
3.3.2 First Expedition ................................................................................................. 28
3.3.2.1 Ottoman Relation From The Expedition ................................................................. 28
3.3.2.2 Orientalism Of The Renaissance ............................................................................. 28
3.3.2.2.1 An Answer To The “Alone” Renaissance .......................................................... 29
3.3.2.3 East And West ........................................................................................................ 29
3.3.2.3.1 Othello: Turkish Wars ...................................................................................... 29
3.3.2.3.2 Soliman And Persida........................................................................................ 30
3.3.2.3.3 Moor: Various Characters In Shakespeare’s Works ......................................... 30
3.4 INFLUENCE OF ISLAMIC GOLDEN AGE ON THE EUROPEAN
RENAISSANCE ............................................................................................................ 30
3.4.1 Translation: A Prominent Way ......................................................................... 30
3.4.1.1 Copernicus: Truth Behind A Modern Scientist ........................................................ 31
3.4.2 A Key Way To Renaissance ............................................................................. 31
3.4.2.1 The Medieval Europe As A Golden Age Of Islam .................................................... 31
CHAPTER FOUR .............................................................................................................. 32
SHAKESPEARE AND OTHELLO .................................................................................. 32
4.1 INTRODUCTION TO THE PLAY ......................................................................... 32

X
 4.1.1 Muslims In Shakespeare’s England .................................................................. 32
4.1.1.1 Othello: The Moor Of Venice .................................................................................. 32
4.1.1.2 Moor: Less Than Human? ...................................................................................... 33
4.1.1.3 Moor: As A Muslim ................................................................................................. 33
4.2 OTHELLO: AS AN ARABIC CHARACTER ....................................................... 34
4.2.1 The Image Of The Arabs In Othello ................................................................. 34
4.2.1.1 Racial Discrimination.............................................................................................. 34
4.2.1.2. Religious Discrimination ........................................................................................ 35
4.2.1.2.1 Christians And Muslims ................................................................................... 35
4.2.2 Stereotypical Muslims’ Aspects ....................................................................... 36
4.2.2.1 Moor: As A Good Muslim ....................................................................................... 36
4.2.2.2 Moor: As A Bad Muslim.......................................................................................... 36
4.3 THE LITERARY PORTRAYAL OF ISLAMIC CHARACTER ........................... 37
4.3.1 Image Of Muslims In ‘The Talisman’ .............................................................. 37
4.3.1.1 Perspectives Of Romantic Authors About Muslims ................................................ 37
4.3.1.2 Other Interpretations About Islamic Character ...................................................... 38
4.3.1.3 Distorted Image Of Othello’s Race ......................................................................... 38
4.4 THE STEREOTYPED PORTRAYAL OF ISLAMIC CHARACTER ................... 39
4..4.1 Crusade: A Discriminatory Way Toward The Islamic Identity ....................... 40
4.4.2. In The Context Of The Elizabethan Age ......................................................... 40
4.4.2.1 Otherness: Ottomans And Turks............................................................................. 40
4.5 CONCLUSION ........................................................................................................ 41

XI
 CHAPTER ONE

INTRODUCTION TO STUDY

1.1 INTRODUCTION:

"Shakespeare's Othello has undergone extensive critical examination, especially

concerning the depiction of its titular character, a Moorish Muslim. Othello's Muslim

identity has sparked controversy, particularly in the current climate of Islamophobia and

negative stereotypes. In which, this study critically analyzes how Othello's Muslim identity

is portrayed in the play, considering the cultural and historical context of its creation.

Utilizing a multidisciplinary approach involving literary analysis, historical research,

critical theory, and cultural studies, the study delves into Othello's religious beliefs, cultural

traditions, and social status. It explores how the historical and cultural milieu influenced

Shakespeare's depiction of Othello's Muslim identity and examines its interplay with

overarching themes like jealousy, betrayal, and race. This assesses potential political and

cultural implications, contemplating how contemporary audiences interpret this portrayal.

Ultimately, the study seeks to unravel how Shakespeare's views on race and religion shape

the nuanced presentation of Othello's Muslim identity."

1.2 REVIEW OF LITERATURE:

The presentation of a Moor Muslim in Shakespeare's Othello has been the subject of much

debate and scholarly analysis over the year. One of the central issues in the critical

1
interpretation of Othello is the question of whether Shakespeare intended Othello to be read

as a Muslim or as a Christian. Some scholars argue that Othello is clearly identified as a

Muslim in the play, while others contend that Shakespeare's depiction of Othello's religious

identity is more ambiguous.

Mohammed Taleb Al-Olaqi, argues that the Elizabethan age had the insight on Ottoman

empire as threat towards their empire. However, the authors of that age had been trying to

garnish the Muslim people through writings and translations

Edward Said argues that Othello's Muslim identity is essential to his characterization in the

play. Said argues that Othello's Muslim background is presented as both exotic and

threatening, and that this contributes to the negative portrayal of Othello in the play.

Other scholars have taken a more nuanced approach to the portrayal of Othello's Muslim

identity. For example, Ayanna Thompson argues that Shakespeare's depiction of Othello's

religion is intentionally ambiguous, and that this ambiguity allows for a variety of

interpretations of the character. Thompson argues that Shakespeare may have intended

Othello's religion to be read as a metaphor for his otherness, rather than as a literal

representation of his faith.

To sum up, the literature on the presentation of a Moor Muslim in Shakespeare's Othello is

complex and multifaceted. Scholars have offered a variety of interpretations and

perspectives on the topic, and the debate is likely to continue for years to come.

2
1.3 STATEMENT OF PROBLEM

The researcher studies on the presentation of a Moorish Muslim in Shakespeare's Othello

to the modern views especially, several controversies had been emanated in this modern

world on that play perpetuates negative stereotypes of Muslims and people of color, while

others argue that it presents a nuanced and complex portrayal of a marginalized character.

The researcher didn’t notice any books or articles focusing on this topic the presentation of

a Moor Muslim in the Shakespeare’s Othello in the modern views from the modern

perspectives. That mainly focused on this research topic, although there are different

research papers based on the Muslims in Shakespeare’s plays

1.4 RESEARCH QUESTION:

The main research question of this proposal is:

❖ How does the presentation of Othello's Muslim identity contribute to his

characterization in the play?

❖ In what ways does the portrayal of Othello's Muslim identity intersect with other

themes in the play, such as jealousy and betrayal?

❖ How do contemporary audiences interpret the portrayal of Othello's Muslim identity

in the play, and has this interpretation changed over time?

❖ To what extent can the portrayal of Othello's Muslim identity be read as a

commentary on the political and cultural tensions of the time in which the play was

written?

3
1.5 RESEARCH OBJECTIVES:

❖ To critically analyze the presentation of Othello's Muslim identity in Shakespeare's

play Othello.

❖ To analyze the ways in which Shakespeare's attitudes towards race and religion

shape the portrayal of Othello's Muslim identity.

❖ To investigate how contemporary audiences interpret the portrayal of Othello's

Muslim identity and how this interpretation has evolved over time.

❖ To examine the portrayal of Muslims in other Elizabethan literature and compare it

to the presentation of Othello's Muslim identity in Shakespeare's play.

1.6 METHODOLOGY:

This research proposal will employ a critical analysis of Shakespeare's Othello, focusing

specifically on the presentation of Othello as a Moor Muslim. The research will involve a

close reading of the play, taking into consideration the cultural and religious context in

which it was written. The research will also involve an examination of relevant secondary

literature on the topic, including critical essays, articles, and books. The analysis will be

conducted using a combination of qualitative and quantitative research methods. The

qualitative analysis will involve a close reading of the text to identify themes and patterns

in the portrayal of Othello as a Muslim.

4
1.7 SCOPE OF STUDY:

The presentation of a Moorish Muslim in Shakespeare's Othello can be quite broad, as it

encompasses many different themes and issues that are relevant to early modern literature,

history, and culture. The presentation of gender and sexuality in Othello, and how this

intersects with the presentation of the Moorish Muslim. This could involve an examination

of the relationships between Othello and Desdemona, or between Iago and his wife Emilia,

and how these relationships reflect or challenge gender roles and expectations.

1.8 ORGANIZATION OF STUDY:

This research proposal aims to critically analyze the presentation of a Moor Muslim in

Shakespeare's Othello and divided into three chapters; the Chapter 1 will discuss about

“Othello: Moor as a ‘label’,” and the Chapter 2 will analyze the image of “Muslims in the

Elizabethan age” and the Chapter 3 will discuss “Shakespeare and Othello”

5
 CHAPTER TWO

OTHELLO: MOOR AS A “LABEL”

2.1 MOORS IN SHAKESPEARE’S ENGLAND

The Moors are a Muslim people of mixed Arabs and Berbers’ descent from Maghreb region

of Northwest Africa during the Middle Ages and the early modern period. Later period,

Moors conquered the Iberian Peninsula in the eight century—now Spain and Portugal. This

continued only until the fifteenth century where the European forced finally and vanished

them out of the peninsula.

2.1.1 Modern Europeans About Moor

Modern European imagination was about the Moors, they were fit in with other Muslim

populations that were seen to threaten the Christianity. The Ottoman Empire, which

spanned from present-day Turkey into the Middle East and North Africa, was at war with

Christian Europe for many centuries.

2.1.1.1 Beginning Conflict Between Islam and Christianity

This conflict between Christians and Muslims, which began with the Crusades and

persisted throughout Shakespeare's lifetime, presented a military and theological danger

that destabilized Europe and fueled prejudice against Moors.1

1
(Elaskary, 2008)

6
2.1.2 Representation Of Othello

According to Edward Said, the Venetian characters perceive Othello's Muslim background

as exotic. He is perceived as being strange and different, which can cause

miscommunication and anxiety.2

2.1.2.1 As A Foreigner

Othello's Moorish identity is exploited by characters like Iago and Roderigo throughout the

play to portray him as an outsider and a dangerous foreigner. To achieve their own goals,

they take advantage of these stereotypes. Othello's exotic identity extends beyond his

ethnicity and encompasses his religious beliefs or how he perceives them.

2.1.2.1.2 Connection Between Moor And Islam

The connection between Moors and Islam, a religion that was frequently misinterpreted

and denigrated in Renaissance Western Europe, is the source of this perceived threat.

2.1.3 Moor As A Label

There are several ways to address the question of Othello's identity and how it was

constructed. Even critical analyses that highlight Othello's valor, eloquence, and military

prowess come to identical conclusions about who he is in the end. These interpretations

2
(Said, Orientalism, 1978)

7
frequently result from how drastically Othello's character and language change throughout

the play, going from being kind and noble to obnoxious and impulsive. Scholars have been

debating for decades whether Othello's character is a black person, an African nobleman, a

tawny Arab as a Muslim.3 The label "Moor" serves to highlight his racial and cultural

difference in the predominantly Christian Venetian society.

2.1.3.1 Other Interpretations On Othello

Besides of these, Othello was seen as Christian, converted from Islam, to marry Desdemona

and to have the political power in the society. According to Al Jazeera reported from the

director ‘Richard Twyman’ of “Othello”, “He was well aware of the bigotry Othello faces

due to the color of his skin, but he also saw that there was something much more subtle and

multifaceted going on for him as an outsider. The most significant issue is found in the

terminology, as Othello is frequently referred to as the Moor.”.4 “The biggest thing is within

the language, where Othello is constantly called the Moor. As it is known historically about

the Moorish kingdom of Spain (where Spanish Muslims or Moriscos’ were forcibly

converted to Christianity in 1492). However, I never realized that Moor can also be alluding

to Othello's ethnic and spiritual identity.,” he said.

It was not until Twyman encountered the research of Jerry Brotton, professor of

Renaissance Studies at Queen Mary University of London, that it became plausible Islam

3
(Harris, 2000)
4
(Khan, 2018)

8
was intrinsic to Othello’s identity.5 "A Moor is an inhabitant of Mauritania, which is in

northwest Africa," Brotton said to Al Jazeera. It’s effectively modern-day Morocco.

2.2 IDENTITY OF OTHELLO

The question of Othello’s identity has been a burning topic of debate in the modern time

whether he was Muslim or converted into Christianity. In "Othello", Othello's Moorish

identity is an essential part of his character, contributing to the exploration of race, identity

and the consequences of being considered an outsider in a society that is marked by their

own prejudices and prejudices. The play's depiction of Othello's Moorish identity reflects

the complexity of cultural and racial dynamics in early modern Europe, and it remains a

key aspect of its enduring appeal and relevance.

2.2.1 Concerns Over Othello’s Identity

Concerning Othello’s identity, A.C Bradely states that “Othello is primarily a study of a

noble barbarian, who has become a Christian and has imbibed some of the civilization of

his employers.6 but who yet harbors beneath the surface the wild desires of his Moorish

ancestry and the mistrust of female chastity typical of Oriental peoples, and that the final

three Acts portray the eruption of these primal emotions through the thin veneer of Venetian

culture (156).7

5
(Brotton, 2016)
6
(Bradely, 1904)
7
(Bradely, 1904)

9
2.2.1.1 Stereotyped Character

According to Bradley's account, Othello possesses the stereotypically Western notion of

"Oriental" traits, namely "suspiciousness." Bradley adds, "In his tales of magic

handkerchiefs, there is something mysterious about his descent from men of royal siege".

Associating Othello with being "magical" and "mysterious" lends Othello an air of exotic

otherness. Bradley believes that Othello's "civility" is a façade that hides a savage nature

until it emerges at the play's conclusion. This suggests that Othello has two identities: a

"civil" one that he uses to navigate western society and a "barbaric" true nature that lies

beneath the veneer. Bradley contends that Othello's capacity to appease the Venetian senate

as well as to win the heart of Desdemona must be as a result of “magic”, which Bradley

associates with “Oriental” people.

2.2.1.2 Modern Concept Of Moor

It can be seen in the modern terms, that the word Moor refers to the “Islamic Arabic

inhabitants of North Africa who conquered Spain in the eighth century” (Ackroyd 179).8

As G.K. Hunter elucidates, the name "Moor" was somewhat ambiguous ethnographically,

but what was clear about it was its “antithetical relationship to the European norm of the

civilized white Christian” (56).9 John Leo makes a distinction between the "Negroes or

black Moors" of the south and the "white or tawny Moors" of Africa's Mediterranean coast

8
(Ackroyd, 2010)
9
(Hunter, Elizabethan and Foreigners, 2000)

10
(Ackroyd 180).10 Taking an illustration, of what Reginald Scott declared that “a damned

soule may and dooth take the shape of a blacke moore” (qtd. in Hunter 57), portraying the

black man to the devil and evil.11 As the Aaron, the villain of the Shakespeare’s play Titus

Andronicus, is played as most vividly stereotypical black character of the period. Aaron is

represented as he is a malevolent, lustful, and crafty personal throughout the play (5.3.188–

189.12

2.2.2. Racial Status: “Otherness

Othello, the protagonist of Shakespeare's famous tragedy, presents himself as a complex

and mysterious character, whose racial identity serves as a central factor in shaping his

character and narrative. story of the play., throughout the play.

2.2.2.1 Central Factor Of The Play

In Shakespeare's time, the term "Moor" commonly referred to people of North African or

Arab descent, often with implicit associations with Muslim culture. Othello's Moorish

identity serves to emphasize his difference in the predominantly Catholic Venetian

society.13 His race and cultural origin make him a foreigner and distinguish him from the

locals. Scholars have long grappled with the complexities of Othello's racial otherness,

offering different interpretations and perspectives on its meaning.

10
(Leo, 1908)
11
(Scott, 1584)
12
(Shakespeare, 1984)
13
(Zaidi, 2019)

11
2.2.2.2 Being An Outsider

Othello's racial difference forms a powerful force in the play's tragic story. His outsider

status and perceived difference fuel the machinations of Iago, who takes advantage of

Othello's insecurity and draws him down a path of destruction. Othello's racial identity also

contributes to his tragic downfall, as his feelings of isolation and alienation make him

vulnerable to Iago's deception.14

2.2.2.3 Other Interpretations Over Otherness

Scholars have offered various interpretations of Othello's racial otherness, exploring its

significance for themes of power, identity, and belonging. Some scholars highlight the

play's exploration of racial prejudice and discrimination, emphasizing the ways in which

Othello is marginalized and ostracized because of his race. Others focus on the complexities

of Othello's racial identity, examining his internal struggle with belonging and acceptance.

Eliot Tokson states how during the period of the English Colonial Wars 1550 - 1688 there

existed the “Neoplantic idea that associates inner being with the outer appearance” (37).15

As such black skin invariably proposed the idea of “sinfulness in one form or another”

(41).16 Ania Loomba notes that terms popularly attributed to blacks during the sixteenth

century include “sexual potency, courage, pride, guilessness, credulity, easily roused

passions”, characteristics which have become “central and persistent” features of colonial

14
(Hendricks, 2000)
15
(Tokson, 1982)
16
(Loomba A. , Sexuality and Racial Difference: Race in William Shakespeare's Othello, 2012 )

12
stereotyping (52).17 Unsurprisingly, many of the characteristics that are stereotypically

associated with black men are attributed to Othello. In the view of critics like Said, contend

that the division between the West and its Others stems from this epistemic constant of

seeing the world "exclusively in terms of Us and Them." (Malik 223).18

Othello starts the play as a morally pure character as he is introduced so generous and a

perfect soul. Which portrays the other characters as merciless. Moors living in Spain and

in North Africa were Muslims. This means that Othello was a Muslim.

2.3 QUESTION OF OTHELLO’S RELIGION

There are countless arguments the question of Othello's religion, as it is not explicitly stated

in Shakespeare's play. However, there are some clues that can be gleaned from the text and

the historical context of the play, that revolve whether Othello was a Muslim or Christian.

In which, as a Moor, it is, a Muslim, for sure. If a Christian it must be a conversion that

might have emanated. Some scholars assure that Othello is a converted Christian for the

love and the power, that he had in the society.

2.3.1 Moor Muslim In Shakespeare’s Lines

Othello is a Moor, which is a term that was used to refer to Muslims in the Mediterranean

region during the time of the play. However, it is important to note that the term "Moor"

was not always a religious designation, and it could also be used to refer to people of North

African descent who were not Muslim. There are a few lines in the play that suggest that

Othello may be Muslim. For example, in Act I, Scene 1, Iago says to Othello,

17
(Loomba A. , 1989)
18
(Malik, 1996 )

13
"You'll have your way: damn them, then; and the devil choke them!"

This line could be interpreted as a reference to Othello's religious beliefs.19 However, there

are also other lines in the play that suggest that Othello may not be Muslim. For example,

in Act III, Scene 3, Othello says to Desdemona,

"I pray you, chuck, come hither to me."20

This line could be interpreted as a Christian prayer, but it could also be seen as a reference

to Islamic supplication. The word "chuck" is a term of endearment that was used in

Shakespeare's time, and it is similar to the Arabic word "Habibi," which means "my love."

In addition, Othello's use of the word "hell" in Act II, Scene 3, could be seen as a reference

to the Islamic concept of hellfire. He says:

Hell, and night must bring this monstrous birth to light, When I shall see the dark and deep

abyss where bottomless perdition is.21

The use of the word "abyss" is particularly interesting, as it is a term that is often used in

Islamic literature to describe hell.

19
(Shakespeare, Othello, 1603)
20
(Shakespeare, Othello, 1603)
21
(Shakespeare, Othello, 1603)

14
2.3.1.1 Religious Conflict: Statement Of Critics On Othello

According to Edward Said, a prominent literary and cultural critic known for his work on

Orientalism and postcolonial studies, states that the interpretation of Othello's Muslim

identity in William Shakespeare's play "Othello." Said argues that Othello's Moorish

background, while not explicitly stating his religious beliefs, is implicitly linked to his

potential Muslim identity.22

2.3.1.1.1 Relation Of Moor Into Where?

The term "Moor" was often associated with North African Muslims during the Renaissance

period when the play was written. Said's argument revolves around the perception of

Othello's identity as a Moor, which is historically associated with North African Muslims.

This perception of Othello as different and unfamiliar leads to a sense of otherness and can

create misunderstanding and fear. Although Shakespeare's text does not explicitly state

Othello's religion, Said's focuses on the broader implications and perceptions of Othello's

Muslim identity.23

2.3.1.2 Religious Intricates From Othello

As aforementioned earlier, Shakespeare provides no explicit statement of Othello’s religion

in the play, but the implicit statements of his identical preferences convince the readers,

22
(Said, Orientalism, 1978)
23
(Said, The World, the Text, and the Critic , 1983)

15
that suggest by the representation as he is likely Muslim. First, Othello is described as a

“Moor” by other characters in the play. Moors were originally people from North Africa,

and the term was later used to refer to Muslims in general. Second, Othello mentions several

Islamic concepts in his speeches, such as reciting Quran; In the name of Almighty, the most

gracious and most merciful, “heavenly Allah” and “Potentates the great.” The

Magnanimous Potentates. Third, it is implied that Othello is not a Christian as the Venetian

church does not recognize his marriage to Desdemona. But the later studies have discussed

that he is a converted Christian.

2.3.1.3 Religion: Othello From The Evidences

Based on this evidence, it is likely that Othello is Muslim. However, it is important to note

that Shakespeare never explicitly states Othello’s religion, and there is some debate among

scholars about this issue. Some scholars have argued that Othello’s religion is not important

to the play, and that Shakespeare’s focus is on his character and his tragic downfall. Other

scholars have argued that Othello’s religion is a significant part of his identity, and that it

plays a role in his relationships with other characters and in the events of the play.

2.4 CONCLUSION

At last, Othello is the question of whether Shakespeare intended Othello to be read as a

Muslim or as a Christian. Some scholars argue that Othello is clearly identified as a Muslim

in the play, while others contend that Shakespeare's depiction of Othello's religious identity

is more ambiguous. Ultimately, the question of Othello's religion is left ambiguous by

16
Shakespeare. This ambiguity is likely intentional, as it allows the audience to draw their

own conclusions about Othello's character. Finally, the play's ambient can also be seen as

evidence of Othello's possible Muslim identity. The play was written in the 17th century,

when there were many religious conflicts between Christians and Muslims. Othello's

position as a Moor in a Christian society would make him a target of prejudice and

discrimination, and his Muslim identity could be used to justify this prejudice

17
 CHAPTER THREE

MUSLIMS IN THE ELIZABETHAN AGE

3.1 PERSPECTIVE ABOUT ISLAM AND MUSLIM

From the late thirteenth to the early twentieth centuries, the Ottoman Empire dominated

geography, the economy, religion, and politics. Its influence spread not just over Europe

but also to the Middle East, Asia Minor, and North Africa. As the founder and propagator

of Islam, the Ottoman Empire gained a number of military triumphs and a significant

influence on three continents, particularly in the late fifteenth and early sixteenth centuries.

This caused Western Europeans to fear that Islam would ultimately bring about the

abolition of Christianity.

3.1.1. Anglo-Islamic Relation

With the Crusades, the first stories of the Islamic faith were brought to England. There is a

propensity to think that the major immigration of Muslim communities from South Asia

starting in the 1950s defines Anglo-Islamic relations, However, this is only a small part of

a much longer and more complex story.

3.1.1.1 Image Of Ottoman Empire And Islam

Following the fall of Constantinople in 1453 and Selim’s caliphate declaration in the

Muslim world strengthened the idea that the leader of Islam in which the Ottoman Empire

grew to become a powerful worldwide force, and early Tudors realized that Islam posed a

threat to Christianity but also had the potential to be an ally in the altering political and

18
diplomatic landscape of Europe. Wearing Turkish silken and velvet robes for courtly

occasions, Henry VIII was well-known for his stylish Ottoman clothing. As Bridgett Orr

explains: Plays with exotic settings contributed to the refashioning of metropolitan selves

by providing an implicit or explicit contrast with planters, Indians, Moors, Spaniards and

Ottomans.

3.1.1.2.1 Portrayal Of Muslims

In many Elizabethan plays, Muslims were portrayed as infidels, barbarians, black people

etc. This view supports the crusaders' attitude towards Muslims. This perspective is the

result of cross-thinking inherited from the military expansion of the Ottoman Empire which

was the largest Muslim power at the time. The Western perspective on Islam is categorized

as Orientalism.24 Some of the authors who approached Islam "with a prior prejudice," and

to identify those authors who "have launched a critical onslaught on Islam

(Adnan,1985,82).25"

Indeed, the perception of Muslims held by Western scholars is rooted in antiquated ideas

from the time of the Crusades, which brought the Islamic world and the West together

(1095–1270). Europeans became increasingly hostile and hateful of Islam and the prophet

Muhammad (peace be upon him) as a result of this conflict (Adnan,41).26

24
(Said, 1978)
25
(Wazzan, 1985)
26
(Kitishat, 2012)

19
3.1.1.3 Anglo-Safavid Trade

Although the Anglo-Safavid trade enjoyed a brief period of prosperity, the logistical and

financial through Russian rendered it untenable. Elizabeth began to publicly encourage

trade with Ottoman in order to establish political and economic ties with Sultan Murad III's

Ottoman empire.

3.1.1.3.1 Political-Religious Alliance

Elizabeth, with the cordial correspondence with Sultan Murad III, proposing a political-

religious alliance against the Spanish. The letter addressed Murad as "the mightiest ruler of

the kingdom of Turkey, sole and above all, the most sovereign monarch of the East

Empire." Murad replied with a letter of his own, and the two became friendly companions

until the 1580s. After Murad's death in 1595, his mother continued to correspond with

Elizabeth, and in 1599 the two sent gifts—a clockwork organ and a carriage—to

Constantinople.27

3.1.1.3.2 Alliances Mirrored On Stage

The Elizabethan stage mirrored the size of the Ottoman and Moroccan alliances. There

were 62 plays with Islamic characters, themes, or settings between 1579 and 1624. These

include some of the most important plays of the time, such as The Jew of Malta (1589),

Kyd's Spanish Tragedy (1587), Peele's Battel of Alcazar (1589), and Marlowe's

Tamburlaine (1587–88), which burns of the Koran on-stage.28

27
(Mitchell, 2018)
28
(Marlowe, 1587)

20
3.1.1.3.2.1 Burning Of Qur’an

Christopher Marlowe’s plays were complete about the victories of a great Scythian warrior

who conquered half of the world by emasculating some strongest empires such as Turkish

dynasty of Bayazeed, Kingdom of Fez, Kingdom of Morocco, Persia, Soldana of Egypt and

Arabia. It is well noticeable, that the presence of East, whereas, Tamburlaine’s subduing of

these territories leads to only successful victories. Along with, arguing the burning of

Qur’an had done thanks to him, because he sees Qur’an as threat to his nation.29

3.1.2 Elizabethan Presentation Of The Qur’an

It is much easier to find the image of Qur’an, the holy book of Muslims in the period of

Elizabeth. Because, it shows many evidences the portrayal of Qur’an was inexplicable.

3.1.2.1 Qur’an As A Turkish Book

The Elizabethans view of the Qur'ān as Turkish, and the people of the Qur'ān and

Muhammad are Turks. They were regarded cruelly by Elizabethan dramatists who saw

them as outsiders in English society.

3.1.2.2 Presentation Of Islam From The Writers

It's clear that Marlowe, Shakespeare, Greene, Massinger, and others are hostile. So, the

response is completely typical and combative. Islam appeared to the Elizabethan Christian

audience as a novel and misleading portrayal of some older faiths. In numerous ways, a

29
(Olaqi, 2012)

21
strict Christian interpretation of Islam was reinforced. According to Norman Daniel,

Elizabethan drama clearly imitates the European response to the Ottoman peril. Daniel

states that as a result, "the use of false evidence to attack Islam was all but universal." Many

erudite diplomats, traders, and intellectuals travelled to the East with the founding of the

Levant Company in 1531, and they returned bearing positive views of Islam.

3.1.2.2.1 Upsurging Journey Of Elizabethans To East

Between 1580 and 1720, the Ottoman Empire saw a sharp increase in Oriental travel.

English travelers were excited to see the East. The writers were actually inspired to make

genuine or fictitious allusions to the enigmatic Islamic World by the general English

interest. Louis Wann reports, the leading British playwrights created no fewer than forty-

seven plays featuring Eastern themes between 1558 and 1642.

3.1.3 Conversion To Islam

Islam was started to influence the people of Elizabethan because of its fame and formidable.

Islam was represented by the travelers came from East and narrated the plights and

principles of Muslim people there.

3.1.3.1 Widespread Conversion

The widespread of non-Muslims’ conversion to Islam became bigger and popular religion

globally. Since then, Europeans interested learning how Arabs had advanced global culture

and how they conquer the world. As the messenger of God Prophet Muhammed, received

his message for humanity from God. And as the Qur’an is divine message.30

30
(Oueijan, 1996)

22
3.1.3.1.1 Islam As A Threat

This became a threat to their religion. Thus, Marlowe, before tarnishing Islam’s image he

tried to convince the people as it is similar, for example, astounds his Elizabethan audience

with this depiction of the Qur’anic God, which is aggressively understood to be the same

Christian Godhead.31

3.1.3.2 Turn A Turk

The narrative of Captain Ward, an Elizabethan aristocrat, who converted to Islam and took

up pro-Turk politics, is told in the play "The Christian Turn’d Turk" (1612). Turn a Turk

became a common term in Elizabethan literature as a result. For example, Othello uses the

line, "Are we turned Turks, and to ourselves do that Which heaven hat forbid the

Ottomites?" to denounce a brawl between his troops, stressing that a brawl among Turks

goes against their religious convictions. "Nay, it is true, or else I am a Turk,". In these plays,

Soliman and Persida,32 A Christian Turn’d Turk,33 The Fair Maid of the West,34 Othello35

and The Renegado.36

3.1.3.2.1 Commanders And Betrayers From Conversion

Those who convert to Islam are the unfortunate and slaves, foolish, or slaves among their

peers, whereas those who convert to Christianity are the excellent and gracious

commanders, sultan, or princess among their own people. Along with, the new converts to

31
(Ibrahim, 1996)
32
(Kyd, 1592)
33
(Daborne, 1612)
34
(Heywood, The Fair Maid of the West, 1631)
35
(Shakespeare, 1603)
36
(Massinger, 1630)

23
Christianity are cherished, honored, and saved, while the new Muslims are doomed and

punished for their betrayal.

3.1.3.3 Perspectives On Qur’an

Elizabethan England misinterpreted the Qur'ān a great deal and frequently.37 Travelogues

tell Elizabethan writers about the reverence Muslims have for the Qur'ān. Thus, Qur'anic

theology is present in plays by Elizabethan playwrights such as Dryden's Oriental plays.38

The political influence of the Turkish Empire continued to wane throughout the latter part

of the seventeenth century. Europeans were able to travel to more and more Islamic

countries. Elizabethan explorers and citizens of several Islamic nations left behind

incredibly insightful documentation and insights into Islam. Scholars of this era viewed

Islam as a rival religion to Christianity. Also, Elizabethan poets took advantage of their

own literary fascination in the Qur'ān.39

3.2 ELIZABETH AGE AND OTTOMAN

Aforementioned earlier, there was a complex relationship between Queen Elizabeth and

later rulers with Ottoman. That all played a major role in the developments.

3.2.1 Elizabeth Tudor

Elizabeth Tudor, a great political talent, was the monarch of England from 1558 until her

death in 1603. She became a stronger ruler despite her arrogance and intransigence.

England's power resided in its neutral stance in the European power struggle; it might tilt

37
(Greenblatt, 2005 )
38
(Radouani, 2009 April )
39
(Olaqi, 2012)

24
the balance against the Protestant insurrection in the Low Countries or in favor of Spain or

France.

3.2.1.1 Political-Religious Division

The political-religious divide in England was a vulnerability. The radicals were the

Protestant exiles and the Catholics.40

3.2.1.2 Division Into Two Groups By Pope

Elizabeth’s moderate approach did not get good result between them. The final result ended

in nationalistic. In 1493, the Pope divided the new world into two groups: the Portuguese

and the Spanish, leaving the English out. He did this by drawing a line from pole to pole.

3.2.1.2.1 “The Elizabeth Age”

This is known as "The Elizabeth age", refers to the second half of the sixteenth century,

when Elizabeth was queen for almost forty-five years. She was struck in obstacles—

religious and commercial. Thus, Queen Elizabeth found herself in a difficult situation

following her excommunication by the pope and the loss of England's primary markets.

3.2.1.3 Relationship With East

Therefore, Queen Elizabeth took a bold step and looked to the East. Under Queen Elizabeth,

Protestant England became more closely aligned with Islam than at any other point in its

history. Because of the pope's dramatic decision, Elizabeth had to reevaluate England's

place in the world.

40
(Stephen Greenblatt M. A., 1962, 4.eds, V.1, p. 421-2)

25
3.2.1.3.1 Anglo-Ottoman Relationship

She made the decision to form an alliance with the more potent Muslim courts of the

Ottoman Empire, Morocco, and Persia. In an era when the Ottoman Empire was considered

the most potent and successful military machine in the world, the prospect of an Anglo-

Ottoman alliance was seen as a substantial concern in Spain and Italy as a direct challenge

to Catholic rule in Europe. This was the first step towards Elizabethan England's

willingness to accept Islam as a faith with which it could do business.41

3.2.1.3.2 English Reaction To Muslim Power

The English reaction of Muslim power was as an international commercial power to enrich

those who work with, as military empire which engulfing all of Christianity. The author

claimed that it was easy to comprehend Islam as a component of Christianity’s well-known

conflicts with heretical groups than of tenets.

3.2.1.3.2.1 Distorted Version

In fact, the rise of the Ottomans and their conquest of Constantinople in 1453 were seen

as divine retribution for Christianity's failure to unite the eastern Orthodox and western

Latin churches. When Christians looked at Islam, they saw a distorted version of

themselves rather than a rival religion.42 (The Sultan and The Queen, p. 9-21)

41
(Brotton, 2016, P. 8-9)
42
(., 2016, P. 9-21)

26
3.3 ELIZABETHAN ORIENTALISM

The essential components of such a background are the evolution of contacts with Oriental

nations through trade and diplomacy on the one hand, and the conflict with the Ottomans

on the other.

3.3.1 Oriental Nations And Ottoman

In which there are many prominent ways, the Ottoman were descripted and represented to

the Western. A burgeoning travel literature that heightened interest in and fascination with

the Eastern realm is also connected to and informs Elizabethan theater representations of

the Orient.43

3.3.1.1 The East Rather Than Spain

The aim was in the East rather than competing with Spain in the new world. Despite the

facts, Elizabethan’s earliest commercial endeavors took place in nations such as Persia,

Turkey, and Morocco.

3.3.1.1.1 Oriental Trade And A Way To India, The Far East

Their main goal was to pave the way to India, the far East and of Oriental trade. This has

to be accomplished before Portuguese find the way by circumnavigating the Ottoman

Empire, which blocked their path. The Elizabeth explorers thought to have a way there,

unfortunately, they later changed their minds and suggested there was a North-East passage

instead.

43
(Richard Hakluyt, 1589)

27
3.3.1.1.2 Cathaia And Moluccae

In 1576, Humphrey Gilbert (quoted in Hakluyt 1903–1905) states: “There lieth a great sea

between it [America], Cathaia and Greenland by the which any man of our country that

will give the attempt may with small danger pass to Cathaia, the Moluccae, India and all

the other places in the east, in much shorter time than the Spaniard or Portugal doth.”44

3.3.2 First Expedition

The first expedition which headed to northeast was failed but given the chance to interact

with Muslim nation—Persia. Thus, Elizabethans gave up trying to find a sea route to India

and instead focused on using this new route to build solid foundations for trade with the

Muslim East.

3.3.2.1 Ottoman Relation From The Expedition

Later, the primary focus was to establish ties with the Ottoman Empire. Hakluyt (1903–

1905) recounts how his extensive travels ended in a meeting with Soliman the Magnificent

in 1553. That signaled the start of close ties and communication between England and the

vast Eastern territories ruled by the Ottoman Empire.45

3.3.2.2 Orientalism Of The Renaissance

In addition, the initiation and expansion of interactions with the Orient via commerce,

exploration, diplomacy, education, and the arts yielded profound effects that established

Orientalism as a defining characteristic of the Renaissance.

44
(Bayouli, 2008)
45
(Hakluyt, 1903–1905 (Orig,pub.1589 ), V. 12)

28
3.3.2.2.1 An Answer To The “Alone” Renaissance

This proves the idea of many authors who challenge that Renaissance is alone afforded

from Greek and Roman classical culture alone. For example, Gerald MacLean (2002)

contends that "only in the light of Christian Europe's relations with eastern and Islamic

cultures can the Renaissance be fully understood."46

3.3.2.3 East And West

In addition to highlighting the links and cultural influences that united the East and West

during the Renaissance, MacLean demonstrated how the growing amount of contact and

interchange between Europe and the East was altering European life and thought. Printing

and gunpowder are cited as examples of such exchanges, along with the usage of the Arabic

decimal system and the translation of Arabic texts on astrology, mathematics, medicine,

philosophy, and logic.47 (MacLean, G. 2002. Re-orienting the Renaissance. London.

Macmillan.)

3.3.2.3.1 Othello: Turkish Wars

Elizabethan drama, most notably Shakespeare's Othello,48 is replete with references to the

"Turkish wars." Other than that, the play is full of other oriental elements, not the least of

which is the tragic hero, the Moor of Venice, who stands up for Venice against its enemies.

The duke addresses Othello in act 1, scene 3, line 48, saying, "Valiant Othello, we must

straight employ you / Against the general enemy Ottoman." Secondly, the theme of the war

46
(MacLean, 2007)
47
(MacLean G. , 2002)
48
(Shakespeare, 1603)

29
against the Turk appeared to be best portrayed theatrically in the context of the Christian

islands in the Mediterranean.

3.3.2.3.2 Soliman And Persida

Prominent instances include Christopher Marlowe's The Jew of Malta (1969b) and Thomas

Kyd's Soliman and Perseda (1955)49, the latter of which drew inspiration from Soliman's

1522 conquest of Rhodes, another Christian Island.

3.3.2.3.3 Moor: Various Characters In Shakespeare’s Works

The term "Moor" is used to describe three different characters in Shakespeare's works:

Aaron in Titus Andronicus (Shakespeare 2006)50, the Prince of Morocco in The Merchant

of Venice (Shakespeare 1955)51 and Othello (Shakespeare 1996)52. Othello. Ed. K. Muir.

London: Penguin. However, while the origin of the prince of Morocco can be determined

with absolute certainty, this is not the case for Othello and even less so for Aaron.53

3.4 INFLUENCE OF ISLAMIC GOLDEN AGE ON THE EUROPEAN

RENAISSANCE

3.4.1 Translation: A Prominent Way

Scholarly works were disseminated throughout Spain, Italy, Syria, Baghdad, and other

centers of learning in Persia through the translation of literature from Latin, the language

of study in Europe, to Arabic, the language of learning in the Muslim world, and vice versa.

49
(Kyd, 1592)
50
(Shakespeare W. , 2006)
51
(Shakespeare W. , The Merchant of Venice, 1955)
52
(Shakespeare W. , Othello, 1603)
53
(Matar, 1999)

30
3.4.1.1 Copernicus: Truth Behind A Modern Scientist

To give an illustration, Copernicus (1473-1543) is probably the first modern scientist in

Western civilization. His principal thesis that the solar system is heliocentric and not, as

had been believed till then, geocentric, was as inspirational a theory as the discovery of

gravitation by Newton or of relativity by Einstein. It would be considered sacrilegious by

Western academics to even imply that Copernicus copied.54

3.4.2 A Key Way To Renaissance

The renaissance of Western was the cornerstone of what the modern world sees the Western

today. Because, it has played a crucial role in shaping the Western towards the future.

3.4.2.1 The Medieval Europe As A Golden Age Of Islam

The European renaissance is debted to owe to the achievements of Muslims, during the

golden age of their civilization and their social and cultural exchange. The Arab historian,

Philip K. Hitti in his book History of the Arabs, wrote: “Muslim Spain wrote one of the

brightest chapters in the history of medieval Europe.”55

54
(Mahmood, 2021)
55
(Hitti, 2002, 10.eds)

31
 CHAPTER FOUR

SHAKESPEARE AND OTHELLO

4.1 INTRODUCTION TO THE PLAY

The play takes place in the sixteenth century, when Venice and the Ottoman Empire were

at odds over dominance of the Adriatic and eastern Mediterranean. The "Turks" in the play

are the Ottomans, and the Ottoman Empire gave rise to what is now Turkey. The

protagonist of Othello is a Moor whose religious beliefs are conflicted between Islam and

Christianity. While discussing the idea of social and religious fluidity in Elizabethan plays,

Debra contends that these theatrical scenes shared the homogenous trait of posing the Other

in Western literature because they were determined to show the possibilities of social and

religious identity that could be chosen or changed.56

4.1.1 Muslims In Shakespeare’s England

As aforementioned earlier in the previous chapter, the images of Muslim lives in the late

1500s and early 1600s, in addition to the sources mentioned above. There were practicing

Muslims in England at the time, which probably encouraged cross-cultural conversations

and gossip.

4.1.1.1 Othello: The Moor Of Venice

William Shakespeare wrote the tragic play "Othello,"57 which tackles issues of racism,

treachery, jealously, and love. In the context of medieval and Renaissance Europe, the

56
(Johanyak 2019, Vol.10, No. 10, 587, P. 2)
57
(Shakespeare 1603)

32
character, Othello, is referred to as a Moor, a term historically used to identify persons of

North African heritage, frequently of Islamic descent. The development of the story is

significantly influenced by Othello's racial identification.

4.1.1.2 Moor: Less Than Human?

The question of Shakespeare’s treatment of black people is arguably the well-known of

considering the ‘other’. The portrayal of eponymous Othello can be seen, Shakespeare’s

depiction of blackness is to transform completely. Thus, it is crystallized to have insights

of his plays the evolution of Shakespeare’s racial prejudices from the bigotry to the

challenging of human rights.58 G. K. Hunter states that the evidence shows that ‘the old

framework of… theological assumptions’ was the dominant influence over Shakespeare’s

portrayal of race.59

4.1.1.3 Moor: As A Muslim

Several terms, such as "Moor," "Arab," "Saracen," and "Turk," were used to refer to

adherents of the Islamic faith in Elizabethan English instead of the term "Muslim." The

terms were frequently used synonymously, and a lack of knowledge of this terminology

has led to the Muslim world's absence from Shakespeare's works and English literature in

general throughout this period.

58
(.K.W 1969)
59
(Hunter 2000)

33
4.2 OTHELLO: AS AN ARABIC CHARACTER

Other studies show ‘Othello’ as an Arabic character, represented by Moor, achieves noble

characteristics; but the racial treatment towards this figure is untenable. Often, his positive

personal characteristics are ignored simply because he is ‘black’. As the presentation of the

character, a racial stance reflects the European attitude toward the Oriental people,

especially Arabs.

4.2.1 The Image Of The Arabs In Othello

By portraying that, Othello is a foreigner and stranger, and is converted into the portrayal

of Oriental characters’ image in general and Arabs in particular in the audiences of

Elizabethan.60 Many references to the color of Othello; a great assess is laid on portraying

imagery of darkness verses fairness. The ‘Moor’ to the Elizabethan audience is an outsider

and stranger. Othello, the hero of the play, relishes the positive personal characteristics as

a military leader, but is regarded differently because he is different in race.

Allan Bloom states that Shakespeare had to work extremely hard "to convince his readers

and audience of his Moor's nobility" because his choice of a Moor as his tragic hero "ran

counter to an established pattern of thought."61

4.2.1.1 Racial Discrimination

The portrayal of the Arabic character lays in this analogy which is based on fair and dark,

whereas on one hand, Desdemona is the representative of fairness and Othello, on the other

hand, is the representative of darkness. So, the contradiction from the beginning of the play

60
(Alzu'bi 2013, Vol.3, No.19.)
61
(Bloom 1966, Dec)

34
until the end is the relation between the main characters’ description. As the main theme of

the play is about the contradiction between opposites. In which, the image of to the

Elizabethan audience is, ‘Moor’ has nothing but negative concepts.

4.2.1.2. Religious Discrimination

The significance of religion in discrimination is another aspect. Shakespeare wants to make

sure that they understand that the Moor is not a Christian. He uses a number of terms with

anti-Christian connotations to do this. The play has numerous references to Othello's non-

Christian beliefs, which is a recurring theme and essential to the play's portrayal of his

character. It is clear that Othello's character was connected to immoral values. Thus, it can

be inferred that Shakespeare's racial depictions of the Arabic character mirror the

Elizabethan era's perspective on Arabs.62

4.2.1.2.1 Christians And Muslims

The Europeans saw the moors, or the Arabs, as barbarous, whereas they saw Westerners,

or Europeans, as quite civilized. Othello thought that by converting from Islam to

Christianity, he would be able to live in a more refined culture, such as Venetian society. It

is ironic that becoming a Christian did not make him any less of a "Moor," an "Arab," or

an outsider. Furthermore, he was perceived as "essentially a noble barbarian who converted

to Christianity but retained the savage passions of his Moorish blood on the surface.63 It is

hinted throughout the play that he became a Christian. Some plausible points of view,

contend that Othello never genuinely converted to a different religion.64

62
(Matar 1999)
63
(Bradley 1905, p.186-7)
64
(Khan 2022)

35
4.2.2 Stereotypical Muslims’ Aspects

It is obvious how Othello and the Turks are portrayed from a Western point of view as

problematic. In this play, there are two kinds of Muslim characters: good and bad. These

two categories, which are Islam and Christianity, black and white, represent the attitudes

that the West has towards the East or the Orient and form a definite pattern of binary

conceptions in this tragedy.

4.2.2.1 Moor: As A Good Muslim

There are two types of Moors in the Elizabethan audience, in which, either can be noble,

well-respected whereas they are known as “White Moors”65 and “non-villainous Moors”66

or as the stereotypical Eurocentric depiction that dehumanizes them. In light of the fact that

it is a useful technique to imagine the tragic fall of a "Valiant Moor" in the beginning to the

"turbaned Turk" in the end, this study contends that Shakespeare appears to include both

types of Moors in the embodiment of Othello.67

4.2.2.2 Moor: As A Bad Muslim

Othello is seen as foolish, having a jealousy complex, which is often how Muslim

characters in Elizabethan theatre are described. These characters are frequently seen as

embodiments of males with a "deadly concoction of jealousy, lust, and violence."68 English

writers frequently view Turk as someone who is dishonest and deceitful. Othello's rebuke

65
(Shaw 1995, )
66
(Kalt 2019)
67
(Homam Altabaa 2022)
68
(Shah 2014)

36
of Cassio and Roderigo for fighting and his interrogation of if they had "turned Turks, and

to ourselves do that/ Which heaven hath forbid the Ottomites" is another example of the

play's content. Turning or becoming a Turk is a well-known disparaging term used by

English playwrights to depict misbehavior, roguery, or dishonesty in Elizabethan plays.69

4.3 THE LITERARY PORTRAYAL OF ISLAMIC CHARACTER

Cultural identity is the prominent impact in the image of any nation. According to Bhugra,

cultural identification refers to a person's psychological traits that identify their culture.

Muslims are consistently characterized as "black" or "non-white."70

4.3.1 Image Of Muslims In ‘The Talisman’

The Talisman by Scott Fitzgerald,71 is a prime example of how Muslims are portrayed in

Western literature; it is a work that distorts historical truths. The Islamic world was

portrayed as an enigmatic, magical, and mythological realm. As a result, a lot of Western

authors express a strong curiosity in the East. Diverse perspectives on Islam are expressed

by these authors. Edward Said clarifies this specific matter by saying that, overall, English

writers had a stronger and more defined understanding of what it may mean to be an

Oriental pilgrim than did the French.72

4.3.1.1 Perspectives Of Romantic Authors About Muslims

As a result, romantic authors like as Byron and Scott developed a political perspective on

the Near East and a sharp understanding of the need to manage connections between the

Orient and Europe. In The Talisman and Count Robert of Paris, Scott's historical

69
(Alshammari 2020, Vol. 10, No. 12, p. 3)
70
(Bhugra 2004)
71
(Fitzgerald 1823)
72
(Said 1978)

37
understanding enabled him to situate the stories in Crusader Palestine and eleventh-century

Byzantium, respectively, without sacrificing his astute political analysis of how nations

behave internationally.73

4.3.1.2 Other Interpretations About Islamic Character

Regarding Marlowe, he stops at this racist portrayal of the character who is Islamic. His

racism is made abundantly evident in his play Tamburlaine. Regarding this issue Beyazit

H. Akman writes: In Tamburlaine the Great, Christopher Marlowe chooses to humiliate the

'Great Turke' by exaggerating the story Bayezid, the Sultan of the Turks, who was defeated

by a half-Mogul (yet still half-Turkish) ruler.74

Marlowe's handling of the Islamic character is merely racist; he does not go beyond this.

His prejudice is exposed in his play Tamburlaine. Thomas Kyd claims incredulously that

circumcision is performed for improved sex, explaining renegade conversion as a result of

sexual desire. Thomas Heywood, on the other hand, is ironically focused on depictions of

castrated renegades and impotent eunuchs.75

4.3.1.3 Distorted Image Of Othello’s Race

Othello, where another black character plays the role of the Eastern man, also frequently

exhibits this unfavorable attitude towards the Eastern character. Numerous allusions to

Othello's race are limited to his skin tone. For instance, at the meeting with Desdamona's

father, Brabantio makes fun of Othello based purely on his skin tone. He says:

73
(Said 1978)
74
(Akman 2009)
75
(Akman 2009)

38
Whether a maid so tender, fair and happy, So opposite to marriage that she shunned, The

wealthy curled darlings of our nation, Would ever have, to incur a general mock, (Othello,

act I, ii)

The Eastern figure is associated with more than only sorcery; in his portrayal of the Moor,

Iago includes many unfavorable stereotypes of the Eastern character, Iago describes the

Moors saying:

These Moors are changeable in, their wills: fill thy purse with money: -the food

that to him now is as luscious as locusts. (Othello, act I,iii)

The moor was defined as a "barbaric" and innocent place that "thinks men honest that but

seem to be so," with a free and open nature. (Othello, act I. iii).

4.4 THE STEREOTYPED PORTRAYAL OF ISLAMIC CHARACTER

Considering the historical background, there was a lot of bigotry directed towards the

Islamic identity. The question of identity in Islam is linked to Islamic culture. Abu Sadat

Nurallah notes that Islam is a social religion that has formed its own cultural identity, The

belief in a single God is the primary distinction between Islamic and secular Western

cultures. Muslims' lives are governed by the Islamic faith in every aspect of existence.

These domains encompass religious convictions, way of life, legislation, and governance.

39
4..4.1 Crusade: A Discriminatory Way Toward The Islamic Identity

Muslims were said to be less skilled than fighters from the West. The portrayal of the great

Islamic leader Saladin, who was able to free the Islamic East from Crusader rule and put

an end to their possession of Palestine, clearly demonstrates this discriminatory attitude

towards the Islamic identity. Edward Said, for example, discusses how Europe treats of

the Eastern people as nothing but "imperialism, racism, and ethnocentrism”.76

4.4.2. In The Context Of The Elizabethan Age

Shakespeare tells the reader that the Ottomans and Turks are not Christians even though he

occasionally paints a favorable picture of them. Shakespeare used the terms Turks,

Ottomans, Arabs, and Moors interchangeably to refer to the Islamic "other."

4.4.2.1 Otherness: Ottomans And Turks

Shakespeare tells the reader that the Ottomans and Turks are not Christians even though he

occasionally paints a favorable picture of them. Shakespeare used the terms Turks,

Ottomans, Arabs, and Moors interchangeably to refer to the Islamic "other." For example,

he quotes the Turks as saying, "What, think you we are Turks or infidels?" in Richard the

Third. (iv) Act III Additionally, King Richard the Second makes a racist comment about

Turks in another passage. Streaming the ensign of the Christian cross; against black pagans,

Turks and Saracens”77

76
(Said.1978:63)
77
(Shakespeare, Richard II 1597)

40
4.5 CONCLUSION

Shakespeare and Othello, the relations and the presentation has been described here. In fact,

interim of the upsurging Islamophobia, the Elizabethan writers have been motivated to

write tarnishing commentaries and narratives of Muslims in general and Arabs in particular.

Even, the Shakespeare also emphasized Othello’s identity ‘Moor’ into racial and religious

discrimination. Whereas, Shakespeare did not assure about the religious concept of Othello

because it is up to the readers minds. But the evidences in the lines of Othello can be seen

clearly what and who he was presented.

41
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