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Shamim Ahmed
Professor Donna Accardo
English 216
14 May 2011
The Importance of Race in Othello
Othello is widely acknowledged as one Shakespeares greatest tragedies because of its
powerful depiction of the impact of race. Among Shakespeares various works, the tale of
Othello stands out as one of the most unique due to its tale not being directly focused upon its
titular character, but on the series of events that bring about his downfall. While one could
simply pin Othellos undoing on a generic spiral of misfortune, one must look beyond that to see
the real issues at hand. What is it that makes Othello such a tragic literary figure? The answer can
be summed up in one striking aspect of this play; Othellos race. Unlike the other characters in
this play, Othello is the outsider in Venetian society, a relative fish out of water. This
unfamiliarity with his surroundings and racial barriers create the problems that exist for him
throughout the novel, and that ultimately lead to his tragic demise. Race is the driving force
behind the tragedy of Othello, and is the key component that allows the play to function as one
of the most heartbreaking literary works of all time.
What should come almost immediately to anyone reading the play is that Othello, unlike
the other characters of the play, does not originate from Venice, but is a Moor from Northern
Africa. In present times, this may not come as much of a shock as we have become adapted to
different cultures living side-by-side, but in Shakespeares time a non-white person having as
much power and respect as Othello must have been astonishing to his audiences. One would
never dream of a black character ascending to the rank of general in the predominantly white

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Venetian army, it was simply unthinkable. As Mason Vaughan mentions, the common assumption
of the English in these times were that people living in Africa, Ethiopia, and Egypt were violent
by nature, whereas people from more northern climes were steadier in temperament (57). There
was this stereotypical notion in English society that people from Africa were all violent to a
certain extent. In his presentation of Othello as the antithesis of the stereotypical "blackamoor,"
Shakespeare runs counter not merely to Cinthio's treatment of the Moor in Hecatommithi, but
also to the currents of color prejudice prevalent in his age (Orkin 167). Not only would seeing
such a character inspire confusion within the audience, but it would also have inspired awe at the
sight of an actual African character. There has always been a fascination with the exotic and
strange, but never more so than in Elizabethan society as Shakespeares various references to
distant realms in his works can attest to it. Othello as blackamoor is visibly marked as a
member of a culture different from that of everyone else on the stage or in the audience; he may
have seemed as fantastic as the monsters associated with him (Aubrey 227). Having a black
character as refined and dignified as Othello must have come as the ultimate shock to the
commonly held belief of African savagery.
Designing Othello to be the displaced Moor of Venice was fully intended by Shakespeare
to inspire a new degree of tragedy in this particular work. Shakespeare personally felt that unlike
a white hero, Othello could better capture the raw intensity of emotion based on the discrepancy
in race alone. In Othello, he had wished to paint that passion all its violence, and that is why he
chose an African in whose veins circulated fire instead of blood, and whose true or imaginary
character could excuse all boldnesses of expression and all exaggerations of passion (Mason
Vaughan 59). With the audience having the preconceived notion of savagery associated with
Africa, Shakespeare found a way to mold this intensity to its most elegant dimension. Othello is

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as far as one can get from a mindless savage. He is a passionate, courageous and powerful figure
whose intelligence and wordplay can draw in any spectator. How then does such a noble figure
inspire tragedy? By being thrust into a realm where he is never truly accepted as a member of
society.
Othellos time in Venice and Cyprus is marked by his distinct inability to adapt to societal
customs, continually being labeled as an outsider. He constantly searches for a means to immerse
himself into their culture, but is continuously rebuffed by the ever present barrier of race that
deters any advancement. One needs to look no further than the start of the play when Iago calls
out to Brabantio, Your heart is burst, you have lost half your soul/ Even now, now very now,
and old black ram/ Is tupping your white ewe. Arise, arise! (I, i, 87-89). It is not a mistake that
Iago would insert the phrase black ram into his warning to Brabantio; he knew that it would
quickly pique the curiosity and ensuing distress of the senator. It was an image of Othellos
barbarity intended to horrify Desdemonas father. What could be worse for a Venetian father than
to wake up in the middle of the night to the news that his daughter had run off with the foreign
Moor? Having once been the charitable host to Othello, Brabantio suddenly becomes not simply
a wounded father who has lost his daughter to an "unlawful" suitor but a racist demagogue who
would brand Othello a conjuring black witch, to be imprisoned (and burned at the stake, we
might imagine, should the accusations be sustained). Thus, although Othello has found some
acceptance in Venice, his blackness is nevertheless susceptible to the dangers of white racism
that erupt when he transgresses Venetian definitions of racial acceptability (Kaula 115).
Brabantio had been captivated by Othellos qualities as a person and the appeal of the exotic, but
had never dreamed of losing his daughter to the Moor. Thus, he assumes that Othello had
convinced her through the use of drugs, charms or black magic. The initial inability to accept

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Desdemonas love for Othello only reinforces the effects of race in this play. If Othello were a
white male instead of a Moor, Brabantio probably would not have jumped to such a conclusion.
The fact that Brabantio treats the notion first as a possibility and then as a certainty and repeats
it four times indicates that Shakespeare wished to show how such a delusion can enter and
become fixed in a normally rational mind (Kaula 114). With the insertion of race into the
dynamic of his daughter eloping with a stranger, the baseless assumption of drugs, charms, and
black magic is not as far-fetched in his mind.
Shakespeare does not hide the other characters opinions of Othello and clearly shows
that race plays a large role in their judgment, specifically in the characters of Iago, Roderigo and
Brabantio. Whereas Brabantios criticisms of Othellos race come as a reaction to Desdemonas
elopement, the inherently racist remarks of Iago and Roderigo serve no purpose but to discredit
the honorable Moor. In addition to Iagos line about the black ram, Roderigo refers to Othello
as the thick-lips (I, i, 66) and remarks that Desdemona had given herself up to the gross
clasps of a lascivious Moor (I, i, 126). Orkin states, Even where Brabantio is concerned,
although Iago and Roderigo successfully manage to expose an element of hidden racism, the
father's grief is mixed. His problem is as much to come to an understanding of the fact of his
daughter's disobedience as it is to cope with his misgivings about his son-in-law's color (172).
The two of them manage to distress Brabantio with not only the thought of his daughters
disobedience in running off with a man, but that the man is Othello the Moor.
It is not only that Othello is such a commanding figure that draws people towards him,
but that he has these qualities despite being of African descent. It is for this reason that Brabantio
and Desdemona are so drawn to the foreign Moor. The allure of the exotic is too great for them
to overcome as they both fall prey to Othellos inviting character and charm. However, both

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father and daughter embrace Othello to very different extents. Brabantio seems to see Othello's
offense as more political than personal, a transgression of the boundaries of acceptable behavior
in Venetian culture because Othello's sooty color marks him as ineligible to compete
legitimately for Desdemona with the white males of our nation (Aubrey 227). It is not the fact
that Othello had eloped with Desdemona that throws Brabantio into such a state of uneasiness,
but that Othello is a black man attempting to do this. That Othello's identity as a black man in
the Venetian court is a marker of negativity is confirmed in the Duke's aside to Brabantio
following Othello's defense of his and Desdemona's elopement: 'If virtue no delighted beauty
lack, / Your son-in-law is far more fair than black' (I, iii, 290-1) (Comensoli 93). The Dukes
remark brings full-circle the stereotypical views of English society of black people having been
uncivilized and savage. Othellos wordplay and defense of his love of Desdemona was so well
spoken that the Duke actually considers Othello to be far more fair than black, and believes
that this tale would win my daughter too" (I, iii, 171).
How then does Desdemonas affection play into this equation of race? Simply put,
Desdemona is one of the few characters that does not factor in Othellos race into consideration
for her love. She loves him unconditionally, beyond the visage of blackness that so many others
had been so apt to point out. Othello loves Desdemona for the purity of her sympathy for him.
He delights in the fact that, She gave me for my pains a world of sighs (I, iii, 159). Othello has
abstracted out of the living Desdemona a virginal but maternal idol to worship (Shapiro 185).
Desdemona is not wary of Othellos race, nor does she hold it against him while he is vying for
her affection. She falls in love with Othellos character; his bravery, courageousness and valor.
She appreciates his values of honor and his intelligence, never questioning his abilities or placing
him on a lower tier due to his race. Whereas her father is impressed by Othellos demeanor

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despite being black, Desdemona is blind to race and loves him for the person he is. Othellos
interactions with Desdemona do not directly bring his race into focus, but there are definite racial
connotations raised when discussing the manner of their relationship.
The one character in the play that has a definite rooting interest in Othellos race is Iago,
who then uses Othellos race as the impetus to sow the seeds of discontent that ultimately bring
ruin. As Orkin mentions, Iago's tendencies are exposed to the audience from the start. In
reacting to his own failure to secure promotion he attacks both the system that he serves and the
man who has won the position he coveted (172). However, is this really the case? Iago is unique
amongst villains that he does not have a clear ulterior motive to his plans, but rather goes about
them to fulfill his desires of ultimate destruction. The lack of a motive for Iago's actions serves
two main functions within the play; it focuses attention on him as an unusually vicious villain,
versed in the arts of Machiavellian polity. More importantly, the reader/observer is forced to ask
why Iago has contrived to perform his devilish plot (Hadfield 337). Despite the uncertainty of
motives, there are numerous instances in the play alluding to his racially driven resentment of
Othello as he refers to him in derogatory terms. When labeling Othello as a black ram upon
waking Brabantio with news of the elopement to referring to him as a Barbary horse, Iago
paints the visual of Desdemonas defloration as something monstrous and unnatural. But where
does this jealousy and hatred stem from? Mason Vaughan attempts to explain this by stating that
The viciousness in Iago's seething resentment at having to remain in a condition of
subordination...flashes out in his cynicism towards Cassioimplicit in his reference to his rival
as a Florentine (I, i, 20) (109). In this instance, yet again Iagos resentment of his position
causes him to lash out racially at those who are standing in his way.

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Looking at the character of Iago through a historical and language centered lens
definitely helps to cast light upon possible racial discriminations. Iago's place of birth is a
matter of significant importance. His name, an invention of Shakespeare's, suggests that he is
Spanish rather than Italian (Hadfield 337). In comparison to the more flamboyant names of the
other supporting characters in the play (i.e. Brabantio, Desdemona, Roderigo, etc), it is logical
that Iago is not of Italian descent at all. If this is truly the case, then a possible reason for Iagos
deep hatred for Othello becomes all the more clearer. If Iago is Spanish, then his resentment of
the racially mixed marriage becomes clearer. The Spanish defeat of the Moors and destruction of
their last stronghold in Spain in 1492 was well known (Hadfield 339). Thus, a possible
explanation for Iagos overwhelming hatred of Othello could be the racial politics between the
Spanish and Moors as a result of their defeat in earlier times. It would explain Iagos seething
hatred directed at Othello and everything he does.
Equally important as the effects of race upon the characters and the audience is the
impact upon the actual plot of Othello. Before Othello's capitulation to Iago's provocations,
Othello, the familiar Moor of Venice, tragically deludes himself into believing that, despite his
African ancestry, he is not an alien in the Venetian social hierarchy. Instead, Othello's Otherness
is masked by his supreme confidence and ability as a military commander (Comensoli 92).
When commandeering an army, Othello is in his element and in complete control of his own
destiny. However, when dealing with the more refined aspects of Venetian culture, he falls
woefully short due to his unfamiliarity with that world. Othello tries his best to fit into Venetian
society, but is never truly accepted, allowing for the opening where Iago takes full advantage of
him. Through Iago's virulent racist attacks, together with the play's insistence on Othello's lack
of the qualities that distinguish the true courtier, namely grace and sprezzatura, Othello is

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constructed as neither subject nor other, but an object cut off from his own presence (Comensoli
93). Instead of relying upon his own judgment and trusting in his abilities, Othello places full
confidence in Iago to guide him in an immersion into Venetian society. Othellos status as a
military commander and habit of making quick decisions on the spur of the moment is what
ultimately leads to his downfall. It is this unyielding trust in Iago, almost to a naive extent, that
allows him to completely control Othello and plunge him deeper into the abyss. Naturally,
Othello assumes that his long-time advisor would be trustworthy, but he had not taken into
account Iagos potential treachery and resentment upon being denied promotion.
How exactly does Iago set his plans into motion? He never forces himself into direct
action against Othello, but casually uses the generals lack of familiarity with Venetian culture to
plant seeds of doubt. Othello is afraid of seeming like an outsider in Venetian society, thus he
does not question Iagos intentions. Images of whiteness, fairness, beauty, and chastity are
juxtaposed throughout the play with the 'blackness' that indicates Othello's exclusion from elite
Venetian male culture (Aubrey 228). While Othello is excluded from this hierarchy of male
culture, Iago is well-immersed in it. Othello is well aware of his status as an other in Venetian
society and verbalizes his insecurity in Act III by negatively comparing himself with others on
the status hierarchy. He makes clear his insecurities in relation to his race and age: Haply, for I
am black, and have not those soft parts of conversation / That chamberers have, or for that I am
declined / Into the vale of years (III, iii, 263-66).These same insecurities are what cause him to
so easily fall victim to the slightest nudges from Iago which ultimately lead to his ruin. In his
haste to take control of the possibility of Desdemonas infidelity, he forgets to question her
directly regarding the matter. He is already distraught to the greatest extent having been hit with
the news from Iago and cannot see beyond a blind stupor that restricts him from seeing things

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clearly. It is only after a series of mishaps and the murder of Desdemona that he finally comes
back to his senses as the Othello we knew from the beginning of the play. He is no longer the
bewildered outsider in the final act of the play, but has reassumed his position as the tactful and
wondrous Moor of Venice. But, it is already too late, as Iago has made use of his insecurities to
deal him the ultimate blow.
Othello is the timeless tale of the hapless Moor stranded in a country that is not his own
and who ultimately falls victim to his own misconceptions. The lack of understanding stems
from Othellos unfamiliarity with Venetian culture, resulting because he is of a completely
different racial background. As such, he falls prey to the prejudices of other characters and is
completely taken advantage of by Iago while he is powerless to react. In the context of race,
Othello continues to view his salvation in terms of his ability to build and live up to an ideal
image--as valiant soldier, as fairy-tale husband, as the hero of a tragic romance--in order to
redeem the integrity of his black humanity from denigration at the hands of conventionally
hostile white critics (Kaula 124) From Brabantios wild accusations of trickery to Iagos
bottomless hatred for the Moor, from the transformation from peerless commander to bewildered
foreigner, it is clear that race plays a major role in Othello.

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Works Cited
Aubrey, James R. "Race and the Spectacle of the Monstrous in Othello." CLIO 22.3 (Spring
1993): 221-238. Rpt. in Shakespearean Criticism. Ed. Lynn M. Zott. Vol. 68. Detroit:
Gale, 2003. Literature Resource Center. Web. 14 May 2011.
Comensoli, Viviana. "Identifying Othello: race and the colonial (non)subject." Early Theatre
(2004): 92-100. Literature Resource Center. Web. 14 May 2011.
Hadfield, Andrew. "Race in 'Othello': the 'History and Description of Africa' and the Black
Legend." Notes and Queries 45.3 (1998): 336-345. Literature Resource Center. Web. 17
May 2011.
Kaula, David. Othello Possessed: Notes on Shakespeares Use of Magic and Witchcraft.
Shakespeare Studies II. Ed. J. Leeds Barroll. United States: J.W. Ford Company, 1967.
112-125. Print.
Mason-Vaughan, Virginia. Race Mattered: Othello in Late Eighteenth-Century England.
Shakespeare Survey 51. Ed. Stanley Wells. Great Britain: University Press, Cambridge,
1998. 57-66. Print.
Orkin, Martin. "Othello and the 'Plain Face' of Racism." Shakespeare Quarterly 38.2 (Summer
1987): 166-188. Rpt. in Shakespearean Criticism. Ed. Michelle Lee. Vol. 89. Detroit:
Gale, 2005. Literature Resource Center. Web. 16 May 2011.
Shapiro, Stephen A. "Othello's Desdemona." The Design Within: Psychoanalytic Approaches to
Shakespeare. Ed. Melvin D. Faber. New York: Science House, 1970. 183-192. Print.