Many of William Shakespeare’s plays reflect some of the Elizabethan values and beliefs that took place throughout much of his life. Although some aspects in Shakespeare’s works were inspired by certain historical events, they also reveal some of the behaviors that were taking place in his current culture. Shakespeare’s Othello, the Moor of Venice is figured to be centered sometime before Elizabeth I reined due to certain historical portrayals; however, the play also reflects on some of the Elizabethan values that were common during the time it was written, such as the belief in witchcraft which was fueled by unexplainable events that were believed to be supernatural occurrences.
Before examining the historical context of Othello, it is important to know some background about the era in which it is based. Although it is unknown exactly when Shakespeare wrote Othello, one of his most recognized plays, evidence has revealed that it was “first performed in 1604” (Arp 1273). Othello is figured to be based during a time when the Ottomite Empire rivaled with an independent Venice, sometime “between 1470 and 1522… [When] Venetian law required that the commander-in-chief of its forces be alien, not a Venetian citizen, to prevent political ambition from interfering with his duties” (Arp 1273).
It becomes clear right from the beginning of the play that Elizabethan beliefs are expressed as accusations are made of Othello when Roderigo and Iago tell Brabantio about Desdemona’s marriage to Othello, warning Brabantio that “the Devil will make a grandsire of [Brabanito]” (Shakespeare 1276). During the Elizabethan era, the Devil was portrayed as black in pictures and carvings (Arp). Since Othello is a black Moor, Iago and Rodrigo insinuate that he possesses evil powers—they convince Brabantio that “an old black ram / Is tupping [his] white ewe…making the beast with two backs” (Shakespeare 1276-7).
Shakespeare expresses Elizabethan beliefs and accusations of witchcraft in Othello when Brabantio is convinced that Othello “hast enchanted [Desdemona]” (Shakespeare 1281). Brabantio argues with the Duke, explaining that Desdemona “is abused, stol’n from [Brabantio] and corrupted / By spells and medicines bought of mountebanks…Sans witchcraft could not” (Shakespeare 1284). In Elizabethan England there was “a widespread belief in the power of witchcraft…witches not only exist, they are officially recognized in law as having the power to hurt and kill people with their cunning” (Mortimer “Witchcraft”). One year before Shakespeare was born in 1563, “the Act against Conjururacions Inchantments and Witchcraftes was passed” (Lee “Religion”), which supported imprisonment and other punishments for witches. The Act was enforced until 1603, one year before Othello was performed, and then a harsher law was replaced by King James which supported death penalties for witches.
Othello’s character also expresses Elizabethan beliefs in magic, enchantment, and superstition when he explains to Desdemona the history and importance of the handkerchief she has misplaced. The handkerchief belonged to Othello’s late mother—he claims that it was made by a charmer who “could almost read / The thoughts of people” (Shakespeare 1329). Othello is led to believe that the cloth has enchanting powers that make people fall in love. Othello recalls his mother telling him that the Egyptian woman who gave it to her said “if she lost it / Or made gift of it, [his] father’s eye / Should hold her loathed and his spirits should hunt / After new fancies” (Shakespeare 1329-30).
The enchanted handkerchief also points a light at another common behavior that took place during Shakespeare’s time which is the persecution and accusations of women, usually concerning witchcraft. Nearly “90 percent of those accused of witchcraft in England are women” (Mortimer “Witchcraft”). Othello’s distrust of Desdemona’s virtue reveals traces of the outlook of women during the Elizabethan era and beyond. Since women were most commonly accused and put on trial for witchcraft accusations, it became difficult for society to fully trust them, which is represented in Othello’s behavior towards Desdemona, his own wife. Shakespeare reflected on the ridiculous behavior toward women by representing Desdemona as a truly virtuous woman who is completely misjudged and falsely accused, so it led to tragedy, much like the persecuted women in Elizabethan society. After accusations of witchcraft practices took place, bewitchment claims escalated which caused even more distrust and devastation to English villages.
Othello finding such little evidence of Desdemona’s supposed affair with Casio is another fine representation of the Elizabethan accusations concerning witchcraft. During the era, very little evidence is needed in order to accuse someone of sorcery. “If your neighbor claims you went to her house and said threatening words to her, and then her son or daughter grows sick and dies, you might be arrested, tried, and hanged for witchcraft” (Mortimer “Witchcraft”). People that had birthmarks or moles on their bodies were thought to have gotten them because “the Devil sucks their blood, for they have forsaken God, renounced their baptism, and vowed their service to the Devil” (Lee “Religion”). Even dealing with such things as cats and toads could insinuate witchcraft practices.
Othello’s superstitious beliefs about his mother’s handkerchief highlights much of the confusion during Shakespeare’s days, when society struggled with distinguishing the difference “between scientific truth and superstitious belief…ignorance shades into superstition and credulity, and these in turn shade into faith and knowledge” (Mortimer “Superstition and Witchcraft”). Othello believes that if his mother’s enchanted handkerchief is lost, then their love will be lost as well. Superstitions were quite common during the era—a popular one was to not lend fire to your neighbor if you do not want your horses to die.
Shakespeare employs the belief and fear of witchcraft and superstitions in Othello because it was taking place Elizabethan England around the time he wrote it. The belief in witchcraft and superstitions was often fueled by many of the unexplained events that commonly occurred, such as the sudden death of a child for no apparent reason, or plague. Poor sanitation practices were much of the cause of unexplained outbreaks; however, when such things could not be controlled or explained, it led to accusations of sorcery. Naturally society would tend to blame someone for fatal phenomena; so many people were accused of causing these unexplained occurrences. Society was reluctant to blame God for the events; therefore, they assumed that something evil, such as a witch is causing the devastation. Naturally it would be directed to someone who has a reason to get even with society—Elizabethan women fit the profile because they constantly suffered persecution; therefore, Desdemona’s character clearly reveals this aspect of the harsh judgment and distrust of women in Elizabethan society.
Othello and Desdemona suffer from extreme accusations in Othello: Othello is accused by Brabantio of enchanting Desdemona and practicing witchcraft which is brought on by Iago and Rodrigo, whereas Desdemona is accused of having a love affair with Casio by Othello, brought on by Iago misleading him. The play reflects on two important historical eras—“when Venice, and independent city-state headed by a duke (or doge) elected by the heads of noble families, was the strongest sea power of the Christian world and included Cyprus and Rhodes among its dominions” (Arp 1273), while also resembling Elizabethan traits. Although William Shakespeare’s Othello, the Moor of Venice is based during a different era than the one it was written in, Shakespeare defines some of the Elizabethan values and beliefs that were common, such as the belief in witchcraft which was fueled by unexplainable events that were believed to be supernatural occurrences.
Works Cited
Arp, Thomas R. & Greg Johnson. Ed. Perrine’s Literature: Structure, Sound and Sense. 10th ed. Boston: Wadsworth Cengage Learning, 2009. 1273. Print.
Lee, Christopher. 1603: The Death of Queen Elizabeth I, the Return of the Black Plague, the rise of Shakespeare, Piracy, Witchcraft, and the Birth of the Stuart Era. New York: St. Martin’s Press, 2014.
Mortimer, Ian. The Time Travelers Guide to Elizabethan England. New York: Penguin Group, 2012.
Shakespeare, William. “Othello, Moor of Venice.” Perrine’s Literature: Structure, Sound and Sense. 10th ed. Ed. Thomas R. Arp and Greg Johnson. Boston: Wadsworth Cengage Learning, 2009. 1273-1366. Print.
Before examining the historical context of Othello, it is important to know some background about the era in which it is based. Although it is unknown exactly when Shakespeare wrote Othello, one of his most recognized plays, evidence has revealed that it was “first performed in 1604” (Arp 1273). Othello is figured to be based during a time when the Ottomite Empire rivaled with an independent Venice, sometime “between 1470 and 1522… [When] Venetian law required that the commander-in-chief of its forces be alien, not a Venetian citizen, to prevent political ambition from interfering with his duties” (Arp 1273).
It becomes clear right from the beginning of the play that Elizabethan beliefs are expressed as accusations are made of Othello when Roderigo and Iago tell Brabantio about Desdemona’s marriage to Othello, warning Brabantio that “the Devil will make a grandsire of [Brabanito]” (Shakespeare 1276). During the Elizabethan era, the Devil was portrayed as black in pictures and carvings (Arp). Since Othello is a black Moor, Iago and Rodrigo insinuate that he possesses evil powers—they convince Brabantio that “an old black ram / Is tupping [his] white ewe…making the beast with two backs” (Shakespeare 1276-7).
Shakespeare expresses Elizabethan beliefs and accusations of witchcraft in Othello when Brabantio is convinced that Othello “hast enchanted [Desdemona]” (Shakespeare 1281). Brabantio argues with the Duke, explaining that Desdemona “is abused, stol’n from [Brabantio] and corrupted / By spells and medicines bought of mountebanks…Sans witchcraft could not” (Shakespeare 1284). In Elizabethan England there was “a widespread belief in the power of witchcraft…witches not only exist, they are officially recognized in law as having the power to hurt and kill people with their cunning” (Mortimer “Witchcraft”). One year before Shakespeare was born in 1563, “the Act against Conjururacions Inchantments and Witchcraftes was passed” (Lee “Religion”), which supported imprisonment and other punishments for witches. The Act was enforced until 1603, one year before Othello was performed, and then a harsher law was replaced by King James which supported death penalties for witches.
Othello’s character also expresses Elizabethan beliefs in magic, enchantment, and superstition when he explains to Desdemona the history and importance of the handkerchief she has misplaced. The handkerchief belonged to Othello’s late mother—he claims that it was made by a charmer who “could almost read / The thoughts of people” (Shakespeare 1329). Othello is led to believe that the cloth has enchanting powers that make people fall in love. Othello recalls his mother telling him that the Egyptian woman who gave it to her said “if she lost it / Or made gift of it, [his] father’s eye / Should hold her loathed and his spirits should hunt / After new fancies” (Shakespeare 1329-30).
The enchanted handkerchief also points a light at another common behavior that took place during Shakespeare’s time which is the persecution and accusations of women, usually concerning witchcraft. Nearly “90 percent of those accused of witchcraft in England are women” (Mortimer “Witchcraft”). Othello’s distrust of Desdemona’s virtue reveals traces of the outlook of women during the Elizabethan era and beyond. Since women were most commonly accused and put on trial for witchcraft accusations, it became difficult for society to fully trust them, which is represented in Othello’s behavior towards Desdemona, his own wife. Shakespeare reflected on the ridiculous behavior toward women by representing Desdemona as a truly virtuous woman who is completely misjudged and falsely accused, so it led to tragedy, much like the persecuted women in Elizabethan society. After accusations of witchcraft practices took place, bewitchment claims escalated which caused even more distrust and devastation to English villages.
Othello finding such little evidence of Desdemona’s supposed affair with Casio is another fine representation of the Elizabethan accusations concerning witchcraft. During the era, very little evidence is needed in order to accuse someone of sorcery. “If your neighbor claims you went to her house and said threatening words to her, and then her son or daughter grows sick and dies, you might be arrested, tried, and hanged for witchcraft” (Mortimer “Witchcraft”). People that had birthmarks or moles on their bodies were thought to have gotten them because “the Devil sucks their blood, for they have forsaken God, renounced their baptism, and vowed their service to the Devil” (Lee “Religion”). Even dealing with such things as cats and toads could insinuate witchcraft practices.
Othello’s superstitious beliefs about his mother’s handkerchief highlights much of the confusion during Shakespeare’s days, when society struggled with distinguishing the difference “between scientific truth and superstitious belief…ignorance shades into superstition and credulity, and these in turn shade into faith and knowledge” (Mortimer “Superstition and Witchcraft”). Othello believes that if his mother’s enchanted handkerchief is lost, then their love will be lost as well. Superstitions were quite common during the era—a popular one was to not lend fire to your neighbor if you do not want your horses to die.
Shakespeare employs the belief and fear of witchcraft and superstitions in Othello because it was taking place Elizabethan England around the time he wrote it. The belief in witchcraft and superstitions was often fueled by many of the unexplained events that commonly occurred, such as the sudden death of a child for no apparent reason, or plague. Poor sanitation practices were much of the cause of unexplained outbreaks; however, when such things could not be controlled or explained, it led to accusations of sorcery. Naturally society would tend to blame someone for fatal phenomena; so many people were accused of causing these unexplained occurrences. Society was reluctant to blame God for the events; therefore, they assumed that something evil, such as a witch is causing the devastation. Naturally it would be directed to someone who has a reason to get even with society—Elizabethan women fit the profile because they constantly suffered persecution; therefore, Desdemona’s character clearly reveals this aspect of the harsh judgment and distrust of women in Elizabethan society.
Othello and Desdemona suffer from extreme accusations in Othello: Othello is accused by Brabantio of enchanting Desdemona and practicing witchcraft which is brought on by Iago and Rodrigo, whereas Desdemona is accused of having a love affair with Casio by Othello, brought on by Iago misleading him. The play reflects on two important historical eras—“when Venice, and independent city-state headed by a duke (or doge) elected by the heads of noble families, was the strongest sea power of the Christian world and included Cyprus and Rhodes among its dominions” (Arp 1273), while also resembling Elizabethan traits. Although William Shakespeare’s Othello, the Moor of Venice is based during a different era than the one it was written in, Shakespeare defines some of the Elizabethan values and beliefs that were common, such as the belief in witchcraft which was fueled by unexplainable events that were believed to be supernatural occurrences.
Works Cited
Arp, Thomas R. & Greg Johnson. Ed. Perrine’s Literature: Structure, Sound and Sense. 10th ed. Boston: Wadsworth Cengage Learning, 2009. 1273. Print.
Lee, Christopher. 1603: The Death of Queen Elizabeth I, the Return of the Black Plague, the rise of Shakespeare, Piracy, Witchcraft, and the Birth of the Stuart Era. New York: St. Martin’s Press, 2014.
Mortimer, Ian. The Time Travelers Guide to Elizabethan England. New York: Penguin Group, 2012.
Shakespeare, William. “Othello, Moor of Venice.” Perrine’s Literature: Structure, Sound and Sense. 10th ed. Ed. Thomas R. Arp and Greg Johnson. Boston: Wadsworth Cengage Learning, 2009. 1273-1366. Print.
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