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OTHELLO 10

The words just quoted come from Wordsworth's sonnet to Toussaint l'Ouverture. Toussaint was a Negro; and there is a question, which, though of little consequence, is not without dramatic interest, whether Shakespeare imagined Othello as a Negro or as a Moor. Now I will not say that Shakespeare imagined him as a Negro and not as a Moor, for that might imply that he distinguished Negroes and Moors precisely as we do; but what appears to me nearly certain is that he imagined Othello as a black man, and not as a light-brown one.

In the first place, we must remember that the brown or bronze to which we are now accustomed in the Othellos of our theatres is a recent innovation. Down to Edmund Kean's time, so far as is known, Othello was always quite black. This stage-tradition goes back to the Restoration, and it almost settles our question. For it is impossible that the colour of the original Othello should have been forgotten so soon after Shakespeare's time, and most improbable that it should have been changed from brown to black.

If we turn to the play itself, we find many references to Othello's colour and appearance. Most of these are indecisive; for the word 'black' was of course used then where we should speak of a 'dark' complexion now; and even the nickname 'thick-lips,' appealed to as proof that Othello was a Negro, might have been applied by an enemy to what we call a Moor. On the other hand, it is hard to believe that, if Othello had been light-brown, Brabantio would have taunted him with having a 'sooty bosom,' or that (as Mr. Furness observes) he himself would have used the words,

her name, that was as fresh As Dian's visage, is now begrimed and black As mine own face.

These arguments cannot be met by pointing out that Othello was of royal blood, is not called an Ethiopian, is called a Barbary horse, and is said to be going to Mauritania. All this would be of importance if we had reason to believe that Shakespeare shared our ideas, knowledge and terms. Otherwise it proves nothing. And we know that sixteenth-century writers called any dark North-African a Moor, or a black Moor, or a blackamoor. Sir Thomas Elyot, according to Hunter,[103] calls Ethiopians Moors; and the following are the first two illustrations of 'Blackamoor' in the Oxford English Dictionary: 1547, 'I am a blake More borne in Barbary'; 1548, 'Ethiopo, a blake More, or a man of Ethiope.' Thus geographical names can tell us nothing about the question how Shakespeare imagined Othello. He may have known that a Mauritanian is not a Negro nor black, but we cannot assume that he did. He may have known, again, that the Prince of Morocco, who is described in the Merchant of Venice as having, like Othello, the complexion of a devil, was no Negro. But we cannot tell: nor is there any reason why he should not have imagined the Prince as a brown Moor and Othello as a Blackamoor.

Titus Andronicus appeared in the Folio among Shakespeare's works. It is believed by some good critics to be his: hardly anyone doubts that he had a hand in it: it is certain that he knew it, for reminiscences of it are scattered through his plays. Now no one who reads Titus Andronicus with an open mind can doubt that Aaron was, in our sense, black; and he appears to have been a Negro. To mention nothing else, he is twice called 'coal-black'; his colour is compared with that of a raven and a swan's legs; his child is coal-black and thick-lipped; he himself has a 'fleece of woolly hair.' Yet he is 'Aaron the Moor,' just as Othello is 'Othello the Moor.' In the Battle of Alcazar (Dyce's Peele, p. 421) Muly the Moor is called 'the negro'; and Shakespeare himself in a single line uses 'negro' and 'Moor' of the same person (Merchant of Venice,

3. v. 42).

The horror of most American critics (Mr. Furness is a bright exception) at the idea of a black Othello is very amusing, and their arguments are highly instructive. But they were anticipated, I regret to say, by Coleridge, and we will hear him. 'No doubt Desdemona saw Othello's visage in his mind; yet, as we are constituted, and most surely as an English audience was disposed in the beginning of the seventeenth century, it would be something monstrous to conceive this beautiful Venetian girl falling in love with a veritable negro. It would argue a disproportionateness, a want of balance, in Desdemona, which Shakespeare does not appear to have in the least contemplated.'[104] Could any argument be more self-destructive? It actually did appear to Brabantio 'something monstrous to conceive' his daughter falling in love with Othello,--so monstrous that he could account for her love only by drugs and foul charms. And the suggestion that such love would argue 'disproportionateness' is precisely the suggestion that Iago did make in Desdemona's case:

Foh! one may smell in such a will most rank, Foul disproportion, thoughts unnatural.

In fact he spoke of the marriage exactly as a filthy-minded cynic now might speak of the marriage of an English lady to a negro like Toussaint. Thus the argument of Coleridge and others points straight to the conclusion against which they argue.

But this is not all. The question whether to Shakespeare Othello was black or brown is not a mere question of isolated fact or historical curiosity; it concerns the character of Desdemona. Coleridge, and still more the American writers, regard her love, in effect, as Brabantio regarded it, and not as Shakespeare conceived it. They are simply blurring this glorious conception when they try to lessen the distance between her and Othello, and to smooth away the obstacle which his 'visage' offered to her romantic passion for a hero. Desdemona, the 'eternal womanly' in its most lovely and adorable form, simple and innocent as a child, ardent with the courage and idealism of a saint, radiant with that heavenly purity of heart which men worship the more because nature so rarely permits it to themselves, had no theories about universal brotherhood, and no phrases about 'one blood in all the nations of the earth' or 'barbarian, Scythian, bond and free'; but when her soul came in sight of the noblest soul on earth, she made nothing of the shrinking of her senses, but followed her soul until her senses took part with it, and 'loved him with the love which was her doom.' It was not prudent. It even turned out tragically. She met in life with the reward of those who rise too far above our common level; and we continue to allot her the same reward when we consent to forgive her for loving a brown man, but find it monstrous that she should love a black one.[105]

There is perhaps a certain excuse for our failure to rise to Shakespeare's meaning, and to realise how extraordinary and splendid a thing it was in a gentle Venetian girl to love Othello, and to assail fortune with such a 'downright violence and storm' as is expected only in a hero. It is that when first we hear of her marriage we have not yet seen the Desdemona of the later Acts; and therefore we do not perceive how astonishing this love and boldness must have been in a maiden so quiet and submissive. And when we watch her in her suffering and death we are so penetrated by the sense of her heavenly sweetness and self-surrender that we almost forget that she had shown herself quite as exceptional in the active assertion of her own soul and will. She tends to become to us predominantly pathetic, the sweetest and most pathetic of Shakespeare's women, as innocent as Miranda and as loving as Viola, yet suffering more deeply than Cordelia or Imogen. And she seems to lack that independence and strength of spirit which Cordelia and Imogen possess, and which in a manner raises them above suffering. She appears passive and defenceless, and can oppose to wrong nothing but the infinite endurance and forgiveness of a love that knows not how to resist or resent. She thus becomes at once the most beautiful example of this love, and the most pathetic heroine in Shakespeare's world. If her part were acted by an artist equal to Salvini, and with a Salvini for Othello, I doubt if the spectacle of the last two Acts would not be pronounced intolerable.

Of course this later impression of Desdemona is perfectly right, but it must be carried back and united with the earlier before we can see what Shakespeare imagined. Evidently, we are to understand, innocence, gentleness, sweetness, lovingness were the salient and, in a sense, the principal traits in Desdemona's character. She was, as her father supposed her to be,

Of spirit so still and quiet that her motion Blushed at herself.

But suddenly there appeared something quite different--something which could never have appeared, for example, in Ophelia--a love not only full of romance but showing a strange freedom and energy of spirit, and leading to a most unusual boldness of action; and this action was carried through with a confidence and decision worthy of Juliet or Cordelia. Desdemona does not shrink before the Senate; and her language to her father, though deeply respectful, is firm enough to stir in us some sympathy with the old man who could not survive his daughter's loss. This then, we must understand, was the emergence in Desdemona, as she passed from girlhood to womanhood, of an individuality and strength which, if she had lived, would have been gradually fused with her more obvious qualities and have issued in a thousand actions, sweet and good, but surprising to her conventional or timid neighbours. And, indeed, we have already a slight example in her overflowing kindness, her boldness and her ill-fated persistence in pleading Cassio's cause. But the full ripening of her lovely and noble nature was not to be. In her brief wedded life she appeared again chiefly as the sweet and submissive being of her girlhood; and the strength of her soul, first evoked by love, found scope to show itself only in a love which, when harshly repulsed, blamed only its own pain; when bruised, only gave forth a more exquisite fragrance; and, when rewarded with death, summoned its last labouring breath to save its murderer.

Many traits in Desdemona's character have been described with sympathetic insight by Mrs. Jameson, and I will pass them by and add but a few words on the connection between this character and the catastrophe of Othello. Desdemona, as Mrs. Jameson remarks, shows less quickness of intellect and less tendency to reflection than most of Shakespeare's heroines; but I question whether the critic is right in adding that she shows much of the 'unconscious address common in women.' She seems to me deficient in this address, having in its place a frank childlike boldness and persistency, which are full of charm but are unhappily united with a certain want of perception. And these graces and this deficiency appear to be inextricably intertwined, and in the circumstances conspire tragically against her. They, with her innocence, hinder her from understanding Othello's state of mind, and lead her to the most unlucky acts and words; and unkindness or anger subdues her so completely that she becomes passive and seems to drift helplessly towards the cataract in front.

In Desdemona's incapacity to resist there is also, in addition to her perfect love, something which is very characteristic. She is, in a sense, a child of nature. That deep inward division which leads to clear and conscious oppositions of right and wrong, duty and inclination, justice and injustice, is alien to her beautiful soul. She is not good, kind and true in spite of a temptation to be otherwise, any more than she is charming in spite of a temptation to be otherwise. She seems to know evil only by name, and, her inclinations being good, she acts on inclination. This trait, with its results, may be seen if we compare her, at the crises of the story, with Cordelia. In Desdemona's place, Cordelia, however frightened at Othello's anger about the lost handkerchief, would not have denied its loss. Painful experience had produced in her a conscious principle of rectitude and a proud hatred of falseness, which would have made a lie, even one wholly innocent in spirit, impossible to her; and the clear sense of justice and right would have led her, instead, to require an explanation of Othello's agitation which would have broken Iago's plot to pieces. In the same way, at the final crisis, no instinctive terror of death would have compelled Cordelia suddenly to relinquish her demand for justice and to plead for life. But these moments are fatal to Desdemona, who acts precisely as if she were guilty; and they are fatal because they ask for something which, it seems to us, could hardly be united with the peculiar beauty of her nature.

This beauty is all her own. Something as beautiful may be found in Cordelia, but not the same beauty. Desdemona, confronted with Lear's foolish but pathetic demand for a profession of love, could have done, I think, what Cordelia could not do--could have refused to compete with her sisters, and yet have made her father feel that she loved him well. And I doubt if Cordelia, 'falsely murdered,' would have been capable of those last words of Desdemona--her answer to Emilia's 'O, who hath done this deed?'

Nobody: I myself. Farewell.
Commend me to my kind lord. O, farewell!

Were we intended to remember, as we hear this last 'falsehood,' that other falsehood, 'It is not lost,' and to feel that, alike in the momentary child's fear and the deathless woman's love, Desdemona is herself and herself alone?[106]

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