Religion in Othello
Religion in Othello
Connected links:
- videos
Race and Religion in Othello Religion in Shakespeare's Work
- websites:
Context for Othello's reference to Job Othello as a Muslim converted to Christianity
Shakespeare makes a conscious choice to place his play in a religious or, like in this case, a Christian world. In a play that places almost equal value on what happens to characters after death as in life, it is important to note how the religious context affects them under these circumstances.
Religious World - The world presented in Othello is ripe with religious terminology (God, Hell, prayer, Amen) because the society is religious. These terms would also be well known to the Elizabethan society that watched the play, as religion was an important aspect of everyday life.
Othello was written with the intention of being presented to a London audience. Most of the Elizabethan society was Protestant, so setting the play in Christian Venice did not pose much of a problem for understanding the religious context present in the text. The audience would be familiar with the customs, beliefs and overall faith of the catholic society of Venice.
“Then heaven
Have mercy on me!” (Act 5, Sc 2, L 40)
“Amen to that, sweet powers!” (Act 2, Sc 1, L 213)
ex. Zounds - abbreviation of God’s wounds, often used by Iago (and others)
“Zounds, hold your peace!” (Act 5, Sc 2, L 259)
“Zounds, sir, you are one of those that will not serve God if the devil bid you.” (Act 1, Sc 1, L 122)
Jove - god of the sky and thunder, king of the gods in Ancient Roman mythology
“Great Jove, Othello guard,
And swell his sail with thine own powerful breath” (Act 2, Sc 1, L 85)
“Our general cast us thus early for the love
of his Desdemona; who let us not therefore blame: he hath not yet made wanton the night with her; and she is sport for Jove.” (Act 2, Sc 3, L 19)
Connected links:
- videos
Race and Religion in Othello Religion in Shakespeare's Work
- websites:
Context for Othello's reference to Job Othello as a Muslim converted to Christianity
Shakespeare makes a conscious choice to place his play in a religious or, like in this case, a Christian world. In a play that places almost equal value on what happens to characters after death as in life, it is important to note how the religious context affects them under these circumstances.
Religious World - The world presented in Othello is ripe with religious terminology (God, Hell, prayer, Amen) because the society is religious. These terms would also be well known to the Elizabethan society that watched the play, as religion was an important aspect of everyday life.
Othello was written with the intention of being presented to a London audience. Most of the Elizabethan society was Protestant, so setting the play in Christian Venice did not pose much of a problem for understanding the religious context present in the text. The audience would be familiar with the customs, beliefs and overall faith of the catholic society of Venice.
“Then heaven
Have mercy on me!” (Act 5, Sc 2, L 40)
“Amen to that, sweet powers!” (Act 2, Sc 1, L 213)
ex. Zounds - abbreviation of God’s wounds, often used by Iago (and others)
“Zounds, hold your peace!” (Act 5, Sc 2, L 259)
“Zounds, sir, you are one of those that will not serve God if the devil bid you.” (Act 1, Sc 1, L 122)
Jove - god of the sky and thunder, king of the gods in Ancient Roman mythology
“Great Jove, Othello guard,
And swell his sail with thine own powerful breath” (Act 2, Sc 1, L 85)
“Our general cast us thus early for the love
of his Desdemona; who let us not therefore blame: he hath not yet made wanton the night with her; and she is sport for Jove.” (Act 2, Sc 3, L 19)
“And, O you mortal engines, whose rude throats
The immortal Jove's dead clamours counterfeit,
Farewell! Othello's occupation's gone!” (Act 3, Sc 3, L 408)
Book of Job - Old Testament story about a man called Job, who suffers despite being a good man undeserving of such torments.
“Had it pleased heaven
To try me with affliction; had they rain'd
All kinds of sores and shames on my bare head. Steep'd me in poverty to the very lips,
Given to captivity me and my utmost hopes,
I should have found in some place of my soul
A drop of patience: but, alas, to make me
A fixed figure for the time of scorn
To point his slow unmoving finger at!
Yet could I bear that too; well, very well:
But there, where I have garner'd up my heart, Where either I must live, or bear no life;
The fountain from the which my current runs,
Or else dries up; to be discarded thence!
Or keep it as a cistern for foul toads
To knot and gender in! Turn thy complexion there, Patience, thou young and rose-lipp'd cherubin,-- Ay, there, look grim as hell!” (Act 4, Sc 2, L 57)
Othello compares himself to Job in his tribulations.
Prayer before death - Because of the Christian beliefs of the characters, the act of killing someone is tied with sending them to hell or heaven. Othello asks Desdemona to pray before he kills her, since he does not want her to suffer for all eternity. Similar themes in Shakespeare’s work can be seen in, for example, Hamlet.
“OTHELLO
Have you pray'd to-night, Desdemona?
DESDEMONAAy, my lord.
OTHELLO
If you bethink yourself of any crime Unreconciled as yet to heaven and grace, Solicit for it straight.” (Act 5, Sc 2, L 28)
“DESDEMONA
Kill me to-morrow: let me live to-night!
OTHELLO
The immortal Jove's dead clamours counterfeit,
Farewell! Othello's occupation's gone!” (Act 3, Sc 3, L 408)
Book of Job - Old Testament story about a man called Job, who suffers despite being a good man undeserving of such torments.
“Had it pleased heaven
To try me with affliction; had they rain'd
All kinds of sores and shames on my bare head. Steep'd me in poverty to the very lips,
Given to captivity me and my utmost hopes,
I should have found in some place of my soul
A drop of patience: but, alas, to make me
A fixed figure for the time of scorn
To point his slow unmoving finger at!
Yet could I bear that too; well, very well:
But there, where I have garner'd up my heart, Where either I must live, or bear no life;
The fountain from the which my current runs,
Or else dries up; to be discarded thence!
Or keep it as a cistern for foul toads
To knot and gender in! Turn thy complexion there, Patience, thou young and rose-lipp'd cherubin,-- Ay, there, look grim as hell!” (Act 4, Sc 2, L 57)
Othello compares himself to Job in his tribulations.
Prayer before death - Because of the Christian beliefs of the characters, the act of killing someone is tied with sending them to hell or heaven. Othello asks Desdemona to pray before he kills her, since he does not want her to suffer for all eternity. Similar themes in Shakespeare’s work can be seen in, for example, Hamlet.
“OTHELLO
Have you pray'd to-night, Desdemona?
DESDEMONAAy, my lord.
OTHELLO
If you bethink yourself of any crime Unreconciled as yet to heaven and grace, Solicit for it straight.” (Act 5, Sc 2, L 28)
“DESDEMONA
Kill me to-morrow: let me live to-night!
OTHELLO
Nay, if you strive--
DESDEMONA
But half an hour!
OTHELLO
Being done, there is no pause.
DESDEMONA
But while I say one prayer!” (Act 5, Sc 2, L 100)
Othello as a Muslim converted to Christianity - there is some evidence supporting
the idea that Othello was a Muslim before he converted to his Christian faith
“OTHELLO
Why, how now, ho! from whence ariseth this? Are we turn'd Turks, and to ourselves do that Which heaven hath forbid the Ottomites?
For Christian shame, put by this barbarous brawl: He that stirs next to carve for his own rage
Holds his soul light; he dies upon his motion.” (Act 2, Sc 3, L 183)
“And then for her
To win the Moor, were't to renounce his baptism,
All seals and symbols of redeemed sin...” (Act 2, Sc 3, L 342)
Othello compared to the devil - Othello is often compared to the devil, usually together with derogatory terms about his skin color.
“Even now, now, very now, an old black ram
Is tupping your white ewe. Arise, arise!
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.” (Act 1, Sc 1, L 100)
Brabantio’s claim - Brabantio believes that Othello used magic to make Desdemona fall in love with him; this is tied to accusing him of being the devil.
“Is there not charms
By which the property of youth and maidhood May be abused?” (Act 1, Sc 1, L 195)
“Damned as thou art, thou hast enchanted her!” (Act 1, Sc 2, L 82)
DESDEMONA
But half an hour!
OTHELLO
Being done, there is no pause.
DESDEMONA
But while I say one prayer!” (Act 5, Sc 2, L 100)
Othello as a Muslim converted to Christianity - there is some evidence supporting
the idea that Othello was a Muslim before he converted to his Christian faith
“OTHELLO
Why, how now, ho! from whence ariseth this? Are we turn'd Turks, and to ourselves do that Which heaven hath forbid the Ottomites?
For Christian shame, put by this barbarous brawl: He that stirs next to carve for his own rage
Holds his soul light; he dies upon his motion.” (Act 2, Sc 3, L 183)
“And then for her
To win the Moor, were't to renounce his baptism,
All seals and symbols of redeemed sin...” (Act 2, Sc 3, L 342)
Othello compared to the devil - Othello is often compared to the devil, usually together with derogatory terms about his skin color.
“Even now, now, very now, an old black ram
Is tupping your white ewe. Arise, arise!
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.” (Act 1, Sc 1, L 100)
Brabantio’s claim - Brabantio believes that Othello used magic to make Desdemona fall in love with him; this is tied to accusing him of being the devil.
“Is there not charms
By which the property of youth and maidhood May be abused?” (Act 1, Sc 1, L 195)
“Damned as thou art, thou hast enchanted her!” (Act 1, Sc 2, L 82)
Desdemona - associated with the qualities of a godly Christian woman
↳ first appearance in Act I scene 3
CASSIO AWAITS DESDEMONA, Act II scene 1
"Divine Desdemona"
↳ first appearance in Act I scene 3
CASSIO AWAITS DESDEMONA, Act II scene 1
"Divine Desdemona"
- ● prayer for her safety
- ● Uses language associated with Virgin Mary
— Act II scene 1 → “Hail to thee [...] round!”
• Overall, Cassio attributes Desdemona with traits typical for Virgin Mary
“Essential ... excellency” → free from original sin → like Mary and immaculate conception etc.
IAGO, Act II scene 3
• Again, attributes Desdemona with Mary-like disposition
↳ It is not only the way Desdemona is talked about that shows similarities to Mary, it is also her behaviour
• Emilia and Des. suspect Othello has become jealous of Desdemona
—Act III scene 4 → Desdemona: “Heaven keep the monster from Othello's mind."
↳ saint-like attitude
• Othello accuses Desdemona of being a 'strumpet' (a whore)
—Act IV scene 2 → Desdemona: “No, as I am a Christian.”
• Emilia wants to hang the man who slandered Desdemona
—Act IV scene 2 → Desdemona: “If any such there be, heaven pardon him”
• On her dying bed depends on mercy of Christ, confident that she is “guiltless” — resembling Mary↳ lies to Emilia to spare Othello
!!! BIBLE IMAGERY: Desdemona is like the martyr Stephen who said "forgive my murderers” when he was stoned to death. !!!
her). He processes it all and contrasts his awful deed with Desdemona’s innocence ”this look of thine will hurl my soul from heaven”
Heaven & Hell - Desdemona + Othello
Othello's love for Desdemona is less like love between two people, and more like an intense, almost ‘religious’ devotion.
↳ Act III scene 3, Othello: “Perdition catch my soul/ But I do love thee”
● Here, Othello equates the power of his love to one worthy of damnation
Othello's faith is shaken by logo's suggestion o Desdemona's infidelity ↳ Act III scene 4, Othello:" If she be false, O then heaven mocks itself"
↳ Act I scene 1, Othello: "keep up your bright swords for the dew will rust them”
● BIBLICAL IMAGERY: Othello’s attitude mirrors Jesus in the Garden of
Gethsemane
Not too long later, poisoned by Iago’s deception, he compares Desdemona to the devil↳ Act IV scene 2, Othello: "Damn her!... the fair devil.”↳ To Desdemona: Othello: "Heaven trully knows thou art false as hell"↳ To Emilia: Othello: "You, mistress, that have the office opposite to Saint Peter and keep the gate of hell!”
● BIBLICAL IMAGERY: St. Peter is at the gate of heaven, Othello claims Emilia must be at the gate of hell.
Othello’s logic becomes quite flawed at this time, as his judgement is clouded by Iago’s manipulation.
Simplified, his reasoning is that: he is a Christian, Desdemona represents th devil (her alleged behaviur is seen as evil: luring and tempting men, infidelity, Christians should oppose the devil, therefore Othello should oppose Desdemona.
When Othello comes in to murder Desdemona, he acts as if he’s passing out justified judgement, not actually murdering her. He acts as if faith justifies his actions, because as ‘the devil’ she deserves the judgement.
↳ Act IV scene 2, Othello: "Sweet soul, take heed, take heed of perjury (...) confess thee freely of thy sin;"
When Othello realises it is him who did wrong, not Desdemona, he uses imagery referring to doom paintings. It is also a reference to the concept of heaven, hell and the purgatory. The
Heaven & Hell - Desdemona + Othello
Othello's love for Desdemona is less like love between two people, and more like an intense, almost ‘religious’ devotion.
↳ Act III scene 3, Othello: “Perdition catch my soul/ But I do love thee”
● Here, Othello equates the power of his love to one worthy of damnation
Othello's faith is shaken by logo's suggestion o Desdemona's infidelity ↳ Act III scene 4, Othello:" If she be false, O then heaven mocks itself"
↳ Act I scene 1, Othello: "keep up your bright swords for the dew will rust them”
● BIBLICAL IMAGERY: Othello’s attitude mirrors Jesus in the Garden of
Gethsemane
Not too long later, poisoned by Iago’s deception, he compares Desdemona to the devil↳ Act IV scene 2, Othello: "Damn her!... the fair devil.”↳ To Desdemona: Othello: "Heaven trully knows thou art false as hell"↳ To Emilia: Othello: "You, mistress, that have the office opposite to Saint Peter and keep the gate of hell!”
● BIBLICAL IMAGERY: St. Peter is at the gate of heaven, Othello claims Emilia must be at the gate of hell.
Othello’s logic becomes quite flawed at this time, as his judgement is clouded by Iago’s manipulation.
Simplified, his reasoning is that: he is a Christian, Desdemona represents th devil (her alleged behaviur is seen as evil: luring and tempting men, infidelity, Christians should oppose the devil, therefore Othello should oppose Desdemona.
When Othello comes in to murder Desdemona, he acts as if he’s passing out justified judgement, not actually murdering her. He acts as if faith justifies his actions, because as ‘the devil’ she deserves the judgement.
↳ Act IV scene 2, Othello: "Sweet soul, take heed, take heed of perjury (...) confess thee freely of thy sin;"
When Othello realises it is him who did wrong, not Desdemona, he uses imagery referring to doom paintings. It is also a reference to the concept of heaven, hell and the purgatory. The
purgatory was considered a place where one undergoes immense pain and suffering in order to atone for the sins from life.
↳ A V scene 2, Othello: "Whip me, Blow me, roast me in sulphur, gulfs of liquid fire”
Honest Iago
● We can also see Iago praying, although quite ironically ↳Act III scene 3, Iago: O grace, O heaven forgive me!”
● After Iago’s wicked plan is exposed, Othello openly compares him to the devil.
↳Act V scene 2, Othello (to Iago): “wicked”, “demi-devil”, “fell”, “hellish villain”, “Damned slave”, “viper”
● BIBLICAL IMAGERY - Viper = snake- Biblical depiction of Satan ↳ lago is condemned as the epitome of all evil, the devil himself.
↳ A V scene 2, Othello: "Whip me, Blow me, roast me in sulphur, gulfs of liquid fire”
Honest Iago
- ● Iago is a fake Christian
- ● he openly claims that his plan comes from evil, so he has no business using biblical,
religious language- he only uses religious imagery to aid his "virtuous “persona ↳Act I scene 3, Iago: "Hell and night Must bring this monstrous birth to the world's night."
↳Act I scene 1, Iago: "Heaven is my judge”
● Ironically Iago swears on heaven, while calling Othello the devil a few
lines later↳Act I scene 1, Iago to Barbantio: “the devil will make a grandsire of you”
● We can also see Iago praying, although quite ironically ↳Act III scene 3, Iago: O grace, O heaven forgive me!”
● After Iago’s wicked plan is exposed, Othello openly compares him to the devil.
↳Act V scene 2, Othello (to Iago): “wicked”, “demi-devil”, “fell”, “hellish villain”, “Damned slave”, “viper”
● BIBLICAL IMAGERY - Viper = snake- Biblical depiction of Satan ↳ lago is condemned as the epitome of all evil, the devil himself.
