The Two “Others”: Caliban, Othello and Race in Shakespeare
The Two “Others”: Caliban, Othello and Race in Shakespeare
The works of Shakespeare contain many characters and motifs that raise questions about the perception of race and prejudice during the Elizabethan and Jacobean eras. Shakespeare created two particularly fascinating characters in Othello and Caliban (from Othello and The Tempest respectively). At first glance, Othello and Caliban provide an interesting contrast when examining the experience of the “Other” in the plays of Shakespeare. Further examination shows that the characters have more similarities than initially recognized by most audiences.
This paper will use personal research and peer-reviewed critiques to examine Shakespeare’s development of each character as an “Other,” and their development throughout the respective plays. A comparison between the characters will examine the colonialism exhibited by Prospero over Caliban contrasted with the ability of Othello to gain power in Venice. Othello’s own struggles as a “prisoner” will be catalogued along with their relationship to Prospero’s imprisonment of Caliban.
The character of Othello has risen through the ranks as a military hero despite his race, but still possesses self-doubt and continues to overcome the suspicions of Venetians. Desdemona’s father, Brabantio, cannot believe that his daughter has fallen in love “with what she feared to look on”, blaming it on “a judgment maimed and most imperfect” (Othello I.iii.98-99). Othello seems to have self-esteem issues stemming from racial prejudice, questioning Desdemona’s love for him because “I am black and have not these soft parts of conversation” (Othello III.iii.263-264).
The audience is first introduced to Caliban through Prospero’s description of him as “a freckled whelp, hag-born, not honored with a human shape” (The Tempest I.ii.336-337). Caliban is the son of Sycorax, a witch and previous inhabitant of the island that Prospero and his daughter, Miranda, now occupy. This description by Prospero immediately portrays Caliban as some sort of dangerous beast while Caliban perceives himself as a victim, claiming “this island’s mine by Sycorax, my mother, which thou tak’st from me” (The Tempest I.ii.396-399). While Caliban is not the protagonist of The Tempest, looking at his character is important because of how those around him treat him, and what Shakespeare wants to reveal about colonization and the attitude of his time through those relationships.
To gain an accurate picture of Caliban and Othello and their relationship with other characters in their respective plays, it is important to organize and analyze the background knowledge provided on each character. It is helpful specifically to examine the development of their growth within their respective communities of Venice and the island. According to Prospero, after arriving on the island he treated Caliban “with humane care, and lodged thee in mine own cell, till thou didst seek to violate the honor of my child” (The Tempest I.ii.415-418). While this initial relationship may seem like a kind act on the part of Prospero, it shows that Caliban was immediately treated as some sort of lesser being than Prospero and Miranda, presumably based on his appearance. Caliban was a native to the island and Prospero possessed that attitude that he was “allowing” Caliban to co-exist freely with them. The presumption of colonialist superiority continues with Miranda’s attitude. Miranda feels betrayed by Caliban’s rape attempt because she “pitied thee, took pains to make thee speak, taught thee each hour one thing or other” (The Tempest I.ii.424-427). Miranda believes that it is a great gift to Caliban to teach him how to speak her language, to educate him, and Prospero is angered that Caliban would take advantage of his daughter’s kindness by attempting to rape her. Miranda and Prospero seem to perceive Caliban as a wild beast that they have attempted to tame during their time on the island. Rather than appreciating their differences, Prospero and Miranda see his unique attributes as a burden.
Othello’s relationship with those in Venice is quite a different story. When he is in danger of punishments dealt based on accusations from Brabantio, Othello recognizes that “my services which I have done the Signiory shall out-tongue his complaints” (Othello I.ii.18-19). The audience knows that Othello, whom the Senators call “the valiant Moor,” has gained his fame through conquests in battle. While Othello is a Moor, he has gained the respect of the Venetian Council because of his past; “the battle, sieges, fortune that [he has] passed” (Othello I.iii.127-130). While some characters clearly hold disdain for Othello and the success that he has found despite his race, the Senate must respect his success on the battlefield and the fortunes that it has gained for them.
The difference between the two characters appears to be in the worth of their actions in the eyes of their communities. Prospero perceives Caliban as a burden only useful for tasks that he or Miranda have taught him to complete, while Othello’s abilities as a military commander are invaluable to the Venetians, thus pressuring them to treat him with more respect than is granted to Caliban.
It is clear that while both Othello and Caliban are perceived as “Others” within their community, Othello has earned more respect than Caliban as his skills and abilities are more highly valued than those of Caliban. What then prevents Caliban from proving himself useful to his colonizers, Miranda and Prospero? It seems that this struggle mostly stems from the colonist/colonizer relationship that exists between Prospero and Caliban. Ian Smith believes that part of this feeling of superiority stems from the language difference. He indentifies that “consistent with the early modern European deployment of this polyvalent identity, Shakespeare has the Italians specify language as the area in which their superiority entitles them to raise the barbarous Caliban to the level of competent slave” (Smith 253). Miranda and Prospero have “cultured” the wild Caliban by teaching him how to speak, and are insulted that in his own words “my profit on ‘t is I know how to curse” (The Tempest I.ii.437-438).
It is difficult to decipher whether or not a rift between Othello and the Venetians existed because of a similar language barrier. While Othello certainly has self-doubts regarding his ability to speak, his language was pure enough to seduce Desdemona, avoid punishment from the Senators, and to calm down an intoxicated Cassio during a fight in the streets Cyprus. There is no evidence of Othello being taught language (or being taught much at all) by the Venetians, which for the most part negates any argument in defense of similar language barriers between Caliban and the Italians, and Othello and the Venetians. John Wylie defends the character of Caliban from accusations that he fits the general idea of an “Other” or a wild man at all through the use of the geography of the island itself. Wylie claims, “The island is arguably represented as a generalized space of exoticism, yet Caliban resists assimilation to such a general ‘otherness’” (Wylie 58). Wylie goes on to say that Caliban “is beyond question capable of growth and learning. There is, finally, little that is ultimately ‘natural; about Caliban, who in this way transcends the categories through which colonial discourse identifies him. He does not conform to an image of ‘wild’ untrammeled nature on which ‘nurture never sticks’”(Wylie 59). Shakespeare appears to create a character that is not unintelligent or ‘wild’, whose only deficiencies seem to stem from comparisons between his attitude and the idea of a “civilized European’, yet Prospero and Miranda treat this man like a slave rather than an equal.
When viewed in the context of a somewhat civilized, just simply foreign Caliban it seems that the inherent difference between Caliban and Othello comes not just from language, or what they can contribute to their respective societies (if Caliban can learn, he has not limits), but from the attitudes of those in their respective societies. The simplest explanation is the historical context of colonist-colonizer relationship that Shakespeare seems to emphasize in The Tempest. The initial evidence for this comes from the historical context of the first performances of the play. Wylie notes “the years immediately preceding The Tempest’s first recorded performance witnessed the setting up by royal charter of the Virginia Company (1606) and the subsequent foundation of the colony of Jamestown in Virginia (1607” (Wylie 47). Historical context is obviously not enough to create this sort of theory; many new critics agree that more than enough textual evidence exists in the relationship between Caliban and Prospero and in Caliban’s reaction to the newcomers on the island. William Hamlin discusses Caliban using an ethnographical defense, giving some insight into the colonial mindset. He claims “Caliban is not merely a ‘wild man’, a sinister, shadowy figure derived from European folklore and medieval tradition; he remains far more complex and distinct, and though his portrayal certainly reveals bestial elements, it is also vilified by an acknowledgement of the existence of culturally alien humans across the world” (Hamlin 37). Hamlin’s analysis supports the idea that Caliban’s ‘bestial’ and ‘wild’ behavior are perceived as such only because they are different than what the European audience and Italian characters are used to seeing. It seems that Shakespeare uses this relationship as a criticism of the treatment of colonists during that time in history. He emphasizes this to his audience by showing the Caliban is not a beast, simply misunderstood by his colonizers. Caliban’s version of events in 1.2 bring to mind the way many colonial relationships have developed throughout the history of the world – for an individual educated in the United States it is easiest to compare Caliban’s story to the treatment of the Native Americans. Caliban remembers, “When thou cam’st first, thou strok’st me and made much of me…and then I loved thee, and showed thee all the qualities o’ the’ isle…cursed be that I do so” (The Tempest I.ii.396-405). Caliban’s story of colonization of certainly not new – colonizers arrive and take advantage of the hospitality of the natives until they are no longer useful, at which point they are killed, forced to move, or enslaved. In the relationship between Caliban and Prospero, it is the latter that occurs.
It is well documented that Caliban could be considered a slave or prisoner of Prospero, and some critics might argue that he fulfills both roles. With comparisons between Othello and Caliban being made, questions arise regarding the depth of Othello’s relationship with the Venetians. It seems possible that Othello is a prisoner or slave of the Venetians (though neither in a literal sense). Throughout the play, Othello’s love for Desdemona transitioned from a pillar in his life to the catalyst of his downfall, but his passionate feelings for her are never in doubt. Othello becomes so attached to Desdemona that he ends his own life rather than live without her. Yet early in the play, he concedes “she loved me for the dangers I had passed” (Othello I.iii.166). It has already been established that any respect he receives from the Senators stems from his abilities on the battlefield, and now the audience sees that Desdemona’s love for him came through the same avenue. During Brabantio’s accusation of Othello, the Duke promises that “the bloody book of law you shall yourself read in the bitter letter after your own sense; yea, though our proper son stood in your action” until he realizes that Othello is in fact the accused (Othello I.iii.67-69). If this war hero had not been a war hero, he would have surely been punished and would have no doubt lost his love, if not his life, at the hands of the law given out by Brabantio. Early in the play Othello can only speak of his military accomplishments when referring to his legacy. Othello boasts that “I fetch my life and being from men of royal siege; and my demerits may speak unbonneted to as proud a fortune as that I have reached” (Othello I.ii.20-23). In my mind Othello’s status as a war hero being the only thing providing him with the love and respect of the Venetians makes him into a prisoner of sorts, if not a slave. When the Senators request his presence he comes quickly and is willing to follow their assignment because he realizes that they protect him and treat him well simply because of his abilities as a military commander.
Othello is willing to leave his new wife in bed on their first night together to restore order between his men on the streets of Cyprus. Othello seems desperate to keep the situation calm and peaceful, promising, “if I once stir or do but lift this arm, the best of you shall sink in my rebuke” (Othello II.iii.206-208). This reaction could be twofold. Clearly Othello is a wise, strong leader, and understands the dangers of a scuffle between guards “in a town of war yet wild, the people’s hearts brimful of fear” (Othello II.iii.215). This sort of behavior could cause a reaction that would lead to chaos within the city and make it appear as if Othello is an ineffective leader. Part of Othello’s desperation in this situation arises from the fact that any sort of failure in leadership would result in a loss of faith from the Senate in Venice. This loss of faith would unfortunately give credence to the word of those like Iago and Roderigo who have throughout the play doubted Othello and blamed his race for any shortcomings, Iago’s anger motivated by jealousy over Othello’s success and Roderigo’s by his own love for Desdemona. Othello becomes a prisoner to his own success, and the pressure of balancing his relationship, along with the control of his men on Cyprus, eventually becomes his downfall in this tragic story.
After establishing the background development of each character within their respective societies, showing the pressures each feels throughout the play from each society, and quickly glancing at Shakespeare’s view on colonization during the time, it is helpful to take a deeper look at Othello from a historical perspective. This analysis can lead to a comparison between the historical context of Othello and the Venetians and Caliban and Prospero. One important element that Meredith Anne Skura brings up is that before making conclusions about Shakespeare’s references to racism in any of his plays, we must first understand how race was perceived during the time of Shakespeare. The first issue that Skura brings up is the fact “that the concept of race emerged in the context of one world, and Shakespeare’s play in another that was different materially, politically, and discursively” (Skura 300). Skura points out the important fact that these Venetians would not have had any experience with slavery or imprisonment of a “Moor” based on race and that in fact most prejudice in those times was based on the differences in religion. Many critics agree that based on Othello’s actions and language, he likely was a Muslim and became a Christian at some point during his time with the Venetians or while he was enslaved (Bell 2). With those in mind, it is possible that in fact the racism surrounding the character of Othello is not as rampant as it seems at first glance, “perhaps the reason the reason that arguments for Othello’s racism so often evoke external stereotypes is that there is nothing so definitive in the play itself…no one ever says that he lapses into being a hot African, or a Moor, or even literally, rather than figuratively, black man” (Skura 306). I am not completely convinced by this analysis that Othello is not treated poorly because of his race, but I think it is an interesting argument. Shakespeare does not allow the audience to forget that Othello is an outsider among the Venetians, whether it be through Othello’s own lines or others using labels such as Roderigo referring to him as “the thick-lips” during the first few lines of the play (Othello I.i.64). I appreciate Skura’s idea to a point, in this 21st century reading, many might be too eager to find racism and prejudice and not concentrate on the text itself, but at the same time Shakespeare insists that the audience keep Othello’s ethnicity in mind, if only to emphasize his position as an outsider. Millicent Bell argues that once Othello has received the approval of the Senate to marry Desdemona, the only way race holds him back is through his own like of self-confidence. Bell notes that “Othello seems to suffer the insecurity of someone who has crossed the racial line yet feels reproved for it when his white wife is reclaimed by her social and racial world in her supposed affair with Cassio” (Bell 11). In my mind this analysis works in conjunction with Skura’s; while most characters were not outwardly racist towards Othello, his own self-doubts combined with societal pressures for an outsider combined to put him in a difficult situation.
This environment is an interesting contradiction to that which existed for Caliban, created by Prospero. Caliban is a character desperately yearning to prove to his society that he is not a beast and should not be judged as an “Other,” while Othello has been successful in proving this (whether he placed effort into or not) but is dragged down by his own self-esteem. In fact many believe that this lack of self-esteem is part of his tragic flaw which results in his lack of trust in Desdemona leading to her murder, and of course his angst over taking the life of his lover is too much for him to handle, resulting in Othello eventually killing himself. Caliban will even trade any opportunity at freedom to serve under someone who will treat him as an equal, promising Stephano “Thou shalt be lord of [the island], and I’ll serve thee” if Stephano helps him to remove Prospero from power. Othello on the other hand seems unable to ever rid himself of his own self-doubts, and has little desire to do so. As the respective plays end, Caliban is freed by Prospero to remain on the island alone while Othello stabs himself. This conflict in endings is interesting considering the positive light in which Othello began the play and the negative way Caliban was perceived from the first moments the audience sees him interacting with Miranda and Prospero. Caliban has been humanized and has become a sympathetic character while Othello has lost control of himself and Cyprus as he falls into the dangerous game of jealousy and rumors.
After examination of each of these characters, there are many similarities to be found both in their behaviors and relationships with others in the play. Both are imprisoned in some way; Othello figuratively through his abilities in war and his love for Desdemona, Caliban literally by Prospero until the final scene of the play (while Caliban is not alone in his imprisonment, discussion of the character of Ariel is not relevant to the topic at hand). While I would agree with the critics that have been cited in this paper in their belief that the idea of racism in Othello is overblown, it is vital to understand that so much of the plot progression comes from his lack of self-esteem that accompanies being an outsider, a minority of any kind. The rise of Othello in the Venetian society with only whispers of negativity surrounding him was the inherent difference between himself and Caliban, who was judged negatively from Prospero and Miranda’s first moments on the island. Shakespeare’s apparent emphasis of the dangers of colonialism is almost above criticism when combining textual and historically contextual evidence. Othello, on the other hand, is a prisoner of the Venetians based not on any sense of inferiority, but the fact that he is such a superior commander on the battlefield that they cannot afford to lose him or his skill that has resulted in so many lives being saved. The development, historical context, and conclusion of Othello and Caliban provide a fascinating look into the genius of Shakespeare and the importance of race, prejudice, and colonialism during the time in which he wrote his plays.
Works Cited
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Shakespeare, William, and Alvin B. Kernan. The Tragedy of Othello. New York: Signet Classic,
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Shakespeare, William, Barbara A. Mowat, and Paul Werstine. The Tempest. New York:
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Skura, Meredith. "Reading Othello's Skin: Contexts and Pretexts." Philological Quarterly1 Sept.
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Smith, Jordan. "When We Were Capital, or Lessons in Language: Finding Caliban's
Roots." Shakespeare Studies 28 (2000): 252-57. Web. 17 March 2012.
Wylie, John. "New and Old Worlds: The Tempest and Early Colonial Discourse." Social &
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