William Shakespeare's tragic character, Othello, has captivated audiences and scholars for centuries, not least due to the persistent ambiguity surrounding his ethnicity. Referred to in the play as a "Moor," Othello's racial identity has been a subject of extensive debate, with interpretations ranging from North African to Sub-Saharan African. This lack of a definitive classification within the text itself has allowed for a rich, albeit sometimes
problematic, history of theatrical portrayals and critical analyses, reflecting evolving societal understandings of race and identity.
Ambiguous Origins and Elizabethan Interpretations
The character of Othello is rooted in Giovanni Battista Giraldi Cinthio's tale "Un Capitano Moro," where he is simply called "the Moor." In Shakespeare's play, Othello is described with terms like a "Barbary horse," a "lascivious Moor," and "the devil." He himself refers to his supposed sin as being "black as mine own face," and his dark skin is contrasted with Desdemona's "whiter skin than snow." Iago further fuels this racial contrast by telling Brabantio that "an old black ram / is tupping your white ewe." However, in Elizabethan discourse, the word "black" could encompass a broader spectrum of meanings beyond just physical skin color, often carrying negative connotations. E. A. J. Honigmann, editor of the Arden Shakespeare edition, highlights that Renaissance representations of the Moor were "vague, varied, inconsistent, and contradictory," with the term used interchangeably with "African," "Ethiopian," and even "Indian" to denote someone from Africa or beyond. This historical context suggests that a precise racial classification based solely on Shakespeare's text is challenging.
Scholarly Debates on Othello's Racial Identity
Scholars have long grappled with Othello's ethnicity. A. C. Bradley, whose arguments were later reproduced by James Welton, suggested that Shakespeare likely envisioned Othello as black rather than light-brown, while also cautioning that Shakespeare's distinction between Moors and other Africans might not align with modern racial classifications. This conclusion was partly based on Othello's reflections on his own complexion and early theatrical representations. Virginia Mason Vaughan proposes that Othello's racial identity aligns more closely with a man from Sub-Saharan Africa than from North Africa, noting that North Africans were generally more readily accepted into society. She points out Roderigo's description of Othello having "thick lips," a stereotype used by 16th-century explorers for Sub-Saharan Africans. However, Honigmann counters that such comments, being insults from other characters, need not be taken literally. The text also contains references to "Barbary" or "Barbarian" by Iago, seemingly pointing to the "tawny" Moors of the Barbary coast, further complicating a definitive interpretation.
Theatrical Portrayals and Modern Interpretations
The theatrical history of Othello reflects this ongoing debate. Early critical references, such as Thomas Rymer's 1693 critique and a 1709 engraving, assumed Othello to be a black man. The first known North African interpretation in a major production wasn't until Edmund Kean's 1814 performance. Ira Aldridge pioneered the prominence of black actors in the role, beginning in London in 1825, though Othello was also frequently performed as an Arab Moor during the 19th century. For a significant period, white actors often played Othello in theatrical makeup, a practice known as "blackface." Notable black actors like Paul Robeson took on the role from 1930 to 1959. More recent actors who chose to "blacken up" include Laurence Olivier (1965) and Orson Welles. However, since the 1960s, it has become commonplace to cast a black actor in the role, often with political subtext. Instances of race-reversed casting, such as Patrick Stewart's Othello in 1997, and white actors like Thomas Thieme playing the role without blackface in 2007, demonstrate the continued fluidity and interpretive possibilities surrounding Othello's ethnicity, highlighting that the character's racial identity remains a complex and evolving aspect of his enduring legacy.
