“Women and Moors in Shakespeare’s Othello & Sixteenth Century England” by Amber Sneed
Within Shakespeare’s play Othello, the ideologies common during the sixteenth century regarding women and race become evident within Act 3 Scene 3 of the play. This scene is composed almost entirely of a conversation between Iago and Othello, whereby cunning Iago tricks Othello into believing lies about his beloved Desdemona. It is through the character of Iago that readers become aware of the stereotypes of both women and Moors. While women in Venice were often associated with lustfulness and adultery (Coryate 245-247), Moors were seen as outsiders and sinful (Best 190-193). Iago’s character, then, is utilized in the play to manipulate Othello into becoming hyper-focused on subconscious insecurities regarding his wife’s loyalty and his blackness, and these fictional insecurities are meant to convey beliefs about women and Moors that inhabited the real world during the sixteenth century. Even still, Desdemona and Othello distinguish themselves from the stereotypes of their time, both in her role as a devout wife and subsequently in his holding a position of power as a Moor.
The first insecurity of Othello, which has societal implications regarding the view of women, concerns the loyalty of his wife, Desdemona. Iago skillfully plants a seed of doubt within Othello as he remarks, “In Venice they do let God see the pranks They dare not show their husbands; their best conscience Is not to leave’t undone, but keep’t unknown” (3.3.217-219). With this line, it seems that Iago is projecting a commonly held belief about the lustfulness of Venetian women onto the persona of Desdemona. Desdemona is not a lustful woman, although Iago frames her as such in order to turn Othello against her. Thus, in regards to the play’s commentary on Venetian society, this line applies to Venetian women as a group within society.
The perception of Venetian women during the sixteenth century is explained more thoroughly within the historical account by Thomas Coryate’s Coryats Crudities (1611). Coryate’s piece reflects upon Venetian women and in particular the perception of them within society as courtesans, who typically were viewed as both socially proper and, at the same time, sexually promiscuous and adulterous (245-247). This perception is expanded upon as Coryate recounts, “As for the number of these Venetian Courtesans it is very great. For it is thought there are of them in the whole city and other adjacent places, as Murano, Malomocco, &c. at the least twenty twenty thousand, whereof many are esteemed so loose, that they are said to open their quivers to every arrow. A most ungodly thing without doubt…” (Coryate 247). The metaphor utilized within this quote comments on how women treated their bodies like that of a quiver, allowing many different arrows or men to inhabit them. Ultimately, this stereotype paints Venetian women as being sexually unrestrained and this ultimately aided Iago in framing Desdemona as such. Othello was likely aware of these ideas that circulated throughout the city of Venice and thus his insecurities surrounding the fidelity of his wife not only were impacted by Iago’s manipulation but also the infidelity of other wives that was commonplace during his time. The fictitious lust of Desdemona that Iago paints, then, is utilized within Shakespeare’s Othello to comment on the adulterous and lustful qualities that many people recognized within many upper-class Venetian women.
Just as Othello’s insecurity about Desdemona’s loyalty is subtly used to comment on society’s view of women, so too are Othello’s insecurities regarding his blackness used as a way to reflect the beliefs surrounding Moors. Iago insinuates that Othello’s skin color could be the reason for Desdemona’s supposed adultery as he emphasizes,
Not to affect many proposed matches
Of her own clime, complexion, and degree,
Whereto we see in all things nature tends---
Foh! One may smell in such a will most rank,
Foul disproportion, thoughts unnatural. (3.3. 246-250)
Within this quote, Iago conveys how people within the sixteenth century generally viewed Moors. Particularly, it can be assumed that it was highly unlikely that in real life a Black man and a white woman would fall in love, and even the idea of a White woman choosing a Black man as her lover, according to Iago, is considered heinous.
In connection to this negative perception of Moors, “From: A True Discourse of the Late Voyages of Discovery(1578)” by George Best elaborates on the historical perspective of black people during the sixteenth century. This is especially relevant as this source gives insight on how Othello was perceived as a Moor. Essentially, Best utilizes the story of Noah from the Bible to paint Africans as sinful and evil and subsequently connects their blackness to these attributes. Black skin tones were seen as a punishment from God and thus something that the individual deserved rather than something that was a mere biological aspect of a person (192-193). Given this information, Iago’s comments pertaining to Othello’s skin tone seems to be a way to call attention to the negative connotations that come along with Othello’s blackness as well as the absurdity of Desdemona’s love for him. Othello recognizes his otherness as a Moor within Act 3 Scene 3 of the play as he reflects, “Haply, for I am black And have not those soft parts of conversation That chamberers have,” (3.3.280-282). These lines not only confirm that Iago’s persuasion of Othello is working, but it also sheds light on Othello’s recognition of the way others view him within the larger scope of society. Othello’s words speak to his negative views of himself, as he states that his skin color may be the reason for Desdemona’s infidelity. Thus, Othello’s insecurities about his blackness are not only utilized by Iago to further his doubts regarding Desdemona’s deceitfulness, but also as a representation of how Moors were demonized within society in the sixteenth century.
While the insecurities of Othello shed light on societal stereotypes of women and Moors during the sixteenth century, both Othello and Desdemona also refuse to conform to these stereotypes throughout various parts of the play. Regarding Othello, he is repeatedly deemed a man of great power, as he holds a position of great authority within the military. This is emphasized by Iago’s lines within the play which utilize various terms that exhibit Othello’s authority. For example, Iago addresses Othello within Act 3 Scene 3 by stating, “ My lord, I would I might entreat Your Honor” (3.3.261). This characterization of Othello as a powerful figure within society is seen as directly contrasting with the negative views of Moors at the time, and ultimately serves as a place where the play diverges from the traditional stereotypes of Moors. Othello’s characterization as a powerful Moor is most likely an ironic device utilized by Shakespeare, given that it was truly unlikely that black people would be deemed worthy of occupying such a powerful position in society during this time. Nonetheless, Othello’s ranking exemplifies how the play transforms the ideas of Moors as sinful and lowly within the realm of literature.
Like Othello, Desdemona also combats the stereotypes of Venetian women through her devout love for her husband. While Othello is manipulated into believing that his wife is unloyal through Iago persuasion, Desdemona nonetheless proves her innocence in a conversation with Emilia as she questions, “Dost thou in conscience think-- tell me -- Emilia, that there be women do abuse their husbands In such gross kind?” (4.3.61-63). Desdemona within these lines finds it unbelievable to even think that any woman would ever be unfaithful to her husband, which ultimately speaks to not only her naiveté of the events that transpire within the society around her, but also her pure and loyal nature. Her innocence and faithfulness to Othello clearly is one aspect of her character that defies what it means to be a Venetian woman. Not only is she innocent of infidelity but also she finds it abhorrent to even think about cheating on the love of her life. While this aspect of Desdemona may have been utilized by Othello to make the tragedy of her death all the more emotional, her innocence nonetheless is a testimony to the vast difference between her character and the stereotypes regarding Venetian women of her time.
Shakespeare’s commentary on society is seamlessly connected to Othello’s insecurities regarding Desdemona’s faithfulness and his blackness. While Iago’s goal of ostracizing Othello from Desdemonia is reached through a web of lies pertaining to her actions, these lies ultimately serve as illuminations of truths regarding Venetian women that exist beyond the theatrical bounds of the play. Othello’s blackness is also constructed as a means of not only making Desdemonia’s love for him more suspicious, but also to create further tension between the niceties that are directed at him and the underlying negative connotations that are lingering due to notions that pertain to Moors during this time period. While these stereotypes are upheld within the play, they are also ultimately deconstructed through both Othello’s powerful role within the play and Desdemona’s innocence.
The first insecurity of Othello, which has societal implications regarding the view of women, concerns the loyalty of his wife, Desdemona. Iago skillfully plants a seed of doubt within Othello as he remarks, “In Venice they do let God see the pranks They dare not show their husbands; their best conscience Is not to leave’t undone, but keep’t unknown” (3.3.217-219). With this line, it seems that Iago is projecting a commonly held belief about the lustfulness of Venetian women onto the persona of Desdemona. Desdemona is not a lustful woman, although Iago frames her as such in order to turn Othello against her. Thus, in regards to the play’s commentary on Venetian society, this line applies to Venetian women as a group within society.
The perception of Venetian women during the sixteenth century is explained more thoroughly within the historical account by Thomas Coryate’s Coryats Crudities (1611). Coryate’s piece reflects upon Venetian women and in particular the perception of them within society as courtesans, who typically were viewed as both socially proper and, at the same time, sexually promiscuous and adulterous (245-247). This perception is expanded upon as Coryate recounts, “As for the number of these Venetian Courtesans it is very great. For it is thought there are of them in the whole city and other adjacent places, as Murano, Malomocco, &c. at the least twenty twenty thousand, whereof many are esteemed so loose, that they are said to open their quivers to every arrow. A most ungodly thing without doubt…” (Coryate 247). The metaphor utilized within this quote comments on how women treated their bodies like that of a quiver, allowing many different arrows or men to inhabit them. Ultimately, this stereotype paints Venetian women as being sexually unrestrained and this ultimately aided Iago in framing Desdemona as such. Othello was likely aware of these ideas that circulated throughout the city of Venice and thus his insecurities surrounding the fidelity of his wife not only were impacted by Iago’s manipulation but also the infidelity of other wives that was commonplace during his time. The fictitious lust of Desdemona that Iago paints, then, is utilized within Shakespeare’s Othello to comment on the adulterous and lustful qualities that many people recognized within many upper-class Venetian women.
Just as Othello’s insecurity about Desdemona’s loyalty is subtly used to comment on society’s view of women, so too are Othello’s insecurities regarding his blackness used as a way to reflect the beliefs surrounding Moors. Iago insinuates that Othello’s skin color could be the reason for Desdemona’s supposed adultery as he emphasizes,
Not to affect many proposed matches
Of her own clime, complexion, and degree,
Whereto we see in all things nature tends---
Foh! One may smell in such a will most rank,
Foul disproportion, thoughts unnatural. (3.3. 246-250)
Within this quote, Iago conveys how people within the sixteenth century generally viewed Moors. Particularly, it can be assumed that it was highly unlikely that in real life a Black man and a white woman would fall in love, and even the idea of a White woman choosing a Black man as her lover, according to Iago, is considered heinous.
In connection to this negative perception of Moors, “From: A True Discourse of the Late Voyages of Discovery(1578)” by George Best elaborates on the historical perspective of black people during the sixteenth century. This is especially relevant as this source gives insight on how Othello was perceived as a Moor. Essentially, Best utilizes the story of Noah from the Bible to paint Africans as sinful and evil and subsequently connects their blackness to these attributes. Black skin tones were seen as a punishment from God and thus something that the individual deserved rather than something that was a mere biological aspect of a person (192-193). Given this information, Iago’s comments pertaining to Othello’s skin tone seems to be a way to call attention to the negative connotations that come along with Othello’s blackness as well as the absurdity of Desdemona’s love for him. Othello recognizes his otherness as a Moor within Act 3 Scene 3 of the play as he reflects, “Haply, for I am black And have not those soft parts of conversation That chamberers have,” (3.3.280-282). These lines not only confirm that Iago’s persuasion of Othello is working, but it also sheds light on Othello’s recognition of the way others view him within the larger scope of society. Othello’s words speak to his negative views of himself, as he states that his skin color may be the reason for Desdemona’s infidelity. Thus, Othello’s insecurities about his blackness are not only utilized by Iago to further his doubts regarding Desdemona’s deceitfulness, but also as a representation of how Moors were demonized within society in the sixteenth century.
While the insecurities of Othello shed light on societal stereotypes of women and Moors during the sixteenth century, both Othello and Desdemona also refuse to conform to these stereotypes throughout various parts of the play. Regarding Othello, he is repeatedly deemed a man of great power, as he holds a position of great authority within the military. This is emphasized by Iago’s lines within the play which utilize various terms that exhibit Othello’s authority. For example, Iago addresses Othello within Act 3 Scene 3 by stating, “ My lord, I would I might entreat Your Honor” (3.3.261). This characterization of Othello as a powerful figure within society is seen as directly contrasting with the negative views of Moors at the time, and ultimately serves as a place where the play diverges from the traditional stereotypes of Moors. Othello’s characterization as a powerful Moor is most likely an ironic device utilized by Shakespeare, given that it was truly unlikely that black people would be deemed worthy of occupying such a powerful position in society during this time. Nonetheless, Othello’s ranking exemplifies how the play transforms the ideas of Moors as sinful and lowly within the realm of literature.
Like Othello, Desdemona also combats the stereotypes of Venetian women through her devout love for her husband. While Othello is manipulated into believing that his wife is unloyal through Iago persuasion, Desdemona nonetheless proves her innocence in a conversation with Emilia as she questions, “Dost thou in conscience think-- tell me -- Emilia, that there be women do abuse their husbands In such gross kind?” (4.3.61-63). Desdemona within these lines finds it unbelievable to even think that any woman would ever be unfaithful to her husband, which ultimately speaks to not only her naiveté of the events that transpire within the society around her, but also her pure and loyal nature. Her innocence and faithfulness to Othello clearly is one aspect of her character that defies what it means to be a Venetian woman. Not only is she innocent of infidelity but also she finds it abhorrent to even think about cheating on the love of her life. While this aspect of Desdemona may have been utilized by Othello to make the tragedy of her death all the more emotional, her innocence nonetheless is a testimony to the vast difference between her character and the stereotypes regarding Venetian women of her time.
Shakespeare’s commentary on society is seamlessly connected to Othello’s insecurities regarding Desdemona’s faithfulness and his blackness. While Iago’s goal of ostracizing Othello from Desdemonia is reached through a web of lies pertaining to her actions, these lies ultimately serve as illuminations of truths regarding Venetian women that exist beyond the theatrical bounds of the play. Othello’s blackness is also constructed as a means of not only making Desdemonia’s love for him more suspicious, but also to create further tension between the niceties that are directed at him and the underlying negative connotations that are lingering due to notions that pertain to Moors during this time period. While these stereotypes are upheld within the play, they are also ultimately deconstructed through both Othello’s powerful role within the play and Desdemona’s innocence.
Works Cited
George Best. “From A True Discourse of the Late Voyages of Discovery” (1578). Othello, the Moor of Venice: Texts and Contexts. Ed. Hall. 190-193.
Thomas Coryate. “From Coryats Crudities” (1611). Othello, the Moor of Venice: Texts and Contexts. Ed. Hall. 240-242.
William Shakespeare. Othello, the Moor of Venice: Texts and Contexts. Ed. Kim F. Hall.
Boston: Bedford / St. Martin’s, 2007.
George Best. “From A True Discourse of the Late Voyages of Discovery” (1578). Othello, the Moor of Venice: Texts and Contexts. Ed. Hall. 190-193.
Thomas Coryate. “From Coryats Crudities” (1611). Othello, the Moor of Venice: Texts and Contexts. Ed. Hall. 240-242.
William Shakespeare. Othello, the Moor of Venice: Texts and Contexts. Ed. Kim F. Hall.
Boston: Bedford / St. Martin’s, 2007.