Research Paper on Race in Othello

Introduction

Many reasons suffice when we speak about discrimination. Some include; the issue of fear, the quest for power or even a need for one to disassociate from other individuals. A person's skin color may also form a basis for hatred. The issue of race in Shakespeare's Othello may not be as dominant as other themes of love and jealousy in the play, but the existence of different races of the protagonist has a greater function to offer in our analysis of the tragedy in Othello. The play appears as unusual for the renaissance period based on the argument of race playing a mild role, an issue which brings into context the racial views and opinions of the British during the period. There also exist different adaptations of the protagonist (Othello) in which race plays different functions. The thesis of the paper, therefore, revolves the significance of race as portrayed in both the film and the play. The discussion will suffice different issues with every subsequent paragraph supporting the thesis from a different standpoint.

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Othello by William Shakespeare is opined as a tragedy which was written at around 1603. Among Shakespeare's works, it exists as one of the tightly woven literature based on the myriad issues that it explores. Some of the issues had already been noted in the introductory paragraph except for the aspect of revenge, and forgiveness to mention but a few. The play has spawned different arts, operatic adaptations, and multiple films. The writer revolved the story on Un Capitano Moro or otherwise the Captain of Moorish. Moors is a terminology which gives reference to Muslim inhabitants particularly those that came from the Arab West. The opening of the play is based on the jealous entrance of Roderigo to Lago. His complaint pertains the possible secret marriage between the protagonist (Othello) and Desdemona. Further analysis of the play reveals that Roderigo was the first one to ask for Desdemona's hand in marriage from her father, but Othello secretly tied the knots with her leaving the minor antagonist upset and lonely. It is from this situation that the story is built and Othello undergoes different confrontations of which most are attributed to by his skin color.

It is also notable that the film portrayal of Othello might have been aligned with the racial tension that existed in England following the high level of prejudice behind Queen Elizabeth's decree that banished the black race from England at around 1601. The case confirms the existence of racism in the 16th century even though the images and ideas were not fully developed at the time. How the film also presents Othello's character to the audience can be argued as one who associates the black race with monsters, a common issue to the decree of the queen at the time (Aubrey 221). Looking at the periodicals and the tabloid coupled with other travel literature at the time, certain African people's custom becomes loud. For example, the issue of cannibalism hence Othello's reference with beastly terminologies before his appearance on the stage. Further analysis of the film reveals of metaphoric representation, particularly when the author refers to the gestation and birth of weird and evil thoughts in Othello's mind. The portrayal intensified the monstrous audience perception of Othello and the black race in general.

Generally, the issue of racism even though seen to play a mild function equally takes center stage in Shakespeare's Othello. It unveils to us the attitude that the European society held towards individuals who were of different language and color. Europe in particular, the white nationals dominated nearly every city, and people of other colors were either viewed as a minority or inferior (Hadfield 336). Several characters showcased the mentality then, they include; Emilia, Roderigo, and Brabantio. Even though their roles exist in making loud the issue in the discussion, Lago is the ultimate face of racism. In his soliloquy, he makes his intention known by expressing the great hatred he had towards Moor. As the story progresses, he becomes the major antagonist and depicts many reasons for his hatred towards Moor, an issue which leads to the elimination of many minor characters. Lago hated Othello for his skin color based on the racist comments coupled with vulgar connotations. For example, an insult which he hurled towards the protagonist in which he compared him to an old black rum that was tapping a white ewe, the white ewe, in this case, referred to Desdemona.

The thesis of the play can also be advanced by looking at the significance brought by Shakespeare's Othello's racial aspect. The issues that will form the focus of the paragraph are based on Welles's Othello and the details about the movie adaptation and the actors. Orson Welles depiction of the tragedy of Othello is an entire adaptation of William Shakespeare's play. The play was filmed between 1949 and 1952 both in Italy and Morocco. The primary cast is Orson Welles who is the protagonist (Othello), Michael Lawrence (Cassio), Suzanne Cloutier (Desdemona) Michael MacLiammoir (Lago) and Robert Coote (Roderigo) to mention but a few.

Unlike the original play, the adaptation of Welles's is different; he begins it with a funeral procession of the protagonist while the soldiers are also seen dragging Lago with a chain tied on his neck and later shut into a cage. Other details about Welles's adaptation are noted to the time frame in which it took place (Jones 9). Firstly, the original cast was trimmed from 180 minutes to 90 minutes even as the entire filming lasted for three years due to financial constraints.

Race in Othello: Film Adaptations and Cultural Influences

The race also plays a greater function in the play. For example, it aids in shaping the plot. The choice of Othello makes him become ostracized and thus turning him to a victim. In case Othello would have been given a white complexion, then the characterization of Lago and Desdemona would not have made sense. The issue of race also depict the fears that existed in England at the time. The time at which the play was written imaged the genesis of the African slavery coupled with the fears of the Moors Muslim threat about Christendom and the quest of an African man for the symbol of the white purity. Race and the protagonist, therefore, showcase these fears both at the level of the play and that of the audience. The ideals of Shakespeare can, therefore, be based on the standards of society. Most of them favor men with fair skin, for example, in the case of Othello who rose through ranks and become successful (Jones 9). The ideals also offer constant probation to men hence leaving the perfect women to be opined as those that clip coupons and stays at home.

Role of race in these. Racial diversity is explored, not only to show the great disparities in human nature but also strengths and endowments of man. This mirrors the real society -- conscious enough to acknowledge the existence of the black, rational to acknowledge the racial differences but biases and prejudices owing to white privilege cloud the path of racial integration. How the Black is painted in media is another area of dispenses - by their physique, and culture. However, judicious directing to ensure that race is accurately presented, and without sub-textual manipulations is important. In curtain raising, have been discontent over the use of accents, cultural, relics and cultural tools (MacDonald 231). In a nutshell, the race has advanced the plot development, characterization, and elements of style and thus continues to embellish art and human creativity.

Ideals of the time period. The classical Elizabethan play, being a work of art illustrated the situation, at the time. The thematic concerns of love, jealousy, justice, and treachery put back in time. The play is as a work in classical antiquity has been premiered in modern theatres since the 20th century. It conforms to the characters set out in the original play by integrating a black to white cast. Performance and switching roles of Othello between black and white unravel new insights and experiences.

Racial Representation and Significance in Othello: Historical Meaning and Social Constructs

The differences in both are on making the race more significant than others. Here the people of color are a minority, and domination by the White is evident. They are pointing to the unmatched abilities and the flair of Othello. Scanty details in history about the Moors that blurs their racial definition. Ideas are also different. Some reserved conservatives who cannot reconcile a black person, Othello the protagonist getting married to a White (MacDonald 231).

By comparison, Othello is a black person in both. There is a consensus that the role of Othello is indisputably black. Again, the race is a marginal element and factor in the variety of human beings yet is the most overexploited tool of oppression and bias.

On the part of significance, the following suffice; historical meaning. The role and position of Othello could be to paint a positive distinguishable feature of blacks as of great abilities, in history. Even though, racial intolerance still existed (Marks 101). The existing status quo is deeply entrenched to history. On the aspect of social constructs of different periods and ideals of each time, the society racial hegemony is relevant to the past and present. The play is scripted in a time of minority domination by the majority, and rigidity to the face of change. Contemporary, this has been watered down by globalization and increased civilization, but it is due to change.

Conclusion

Considering racial representation, appearance versus actuality seemingly clash. First is the disharmony in character role. The human biases might have misconstrued the theatrical performance, filming versus the literary text. Next, is film contrasted with modern adaptations as in the case of the dissimilar opinions and changing paradigms in making meaning out of the literary work? Equally important, is the depiction of the people of color in the sense of their prominence and their desire to conquer the status quo. A case example, Othello's, unflinching devotion in the army see him through the ranks as general. His appeal to Desdemona is not pegged on race, rather his abilities, and charm in narration, much to the endearment of Desdemona. The race is a non-pertinent issue that man has formed to perpetuate hate. Race should not be a quick stand to denounce fellow man or as a weighing scale of achievements. Noteworthy, any racial bigotry can be overwhelmed by love.

Works Cited

Aubrey, James R. "Race and the spectacle of the monstrous in 'Othello.'." CLIO, vol. 22, no. 3, 1993, p. 221+. Literature Resource Center, https://ezproxy.templejc.edu:2377/apps/doc/A14212950/GLS?u=txshracd2561&sid=GLS&xid=d6352f8d. Accessed 25 Mar. 2019

Hadfield, Andrew. "Race in 'Othello': the 'History and Description of Africa' and the Black Legend." Notes and Queries, vol. 45, no. 3, 1998, p. 336+. Literature Resource Center, https://ezproxy.templejc.edu:2377/apps/doc/A21274060/GLS?u=txshracd2561&sid=GLS&xid=a71c0755. Accessed 25 Mar. 2019.

Jones, Nicholas. "A bogus hero: Welles's Othello and the construction of race." Shakespeare Bulletin, vol. 23, no. 1, 2005, p. 9+. Literature Resource Center, https://ezproxy.templejc.edu:2377/apps/doc/A132842765/GLS?u=txshracd2561&sid=GLS&xid=d2495fd4. Accessed 25 Mar. 2019.

MacDonald, Joyce Green. "Acting black: 'Othello,' 'Othello' burlesques, and the performance of blackness." Theatre Journal, vol. 46, no. 2, 1994, p. 231+. Literature Resource Center, https://ezproxy.templejc.edu:2377/apps/doc/A15263647/GLS?u=txshracd2561&sid=GLS&xid=3455dced. Accessed 25 Mar. 2019.

Marks, Elise. "'Othello/me': racial drag and the pleasures of boundary-crossing with Othello." Comparative Drama, vol. 35, no. 1, 2001, p. 101+. Literature Resource Center, https://ezproxy.templejc.edu:2377/apps/doc/A82651714/GLS?u=txshracd2561&sid=GLS&am...