By Abdulla Al-Dabbagh
ISBN-10: 1433110598
ISBN-13: 9781433110597
Past feedback has no longer thoroughly mentioned oriental elements of the content material of Shakespearean drama. as well as his portrayal of oriental figures (such as Cleopatra, Othello, and Shylock) and his use of literary genres and motifs that experience roots in oriental culture resembling that of the tragic romance in "Romeo and Juliet", there are particular key parts in Shakespeare's inspiration and outlook which could in simple terms be appropriately understood in the higher contribution of the oriental legacy. This legacy has transparent relevance not just to the exemplary destiny of the fans in "Romeo and Juliet", but in addition to the destinies of such significant Shakespearean heroes as Hamlet and Lear. "Shakespeare, the Orient, and the Critics" investigates the bounds of oriental framework inside of works corresponding to "Hamlet", "King Lear", and "The Tempest". Stylistically, on the center of Shakespeare's orientalism are long-recognized good points of his dramatic paintings: his predilection for reversing stereotypes and his sympathy and id with the alien and the opposite. this is so much essentially obvious within the love tragedies of "Othello" and "Anthony and Cleopatra" in addition to the romantic comedy of "The service provider of Venice". eventually, the philosophic underpinning of such works is a different expression of Renaissance humanism that transcends the bounds of sophistication, race, and culture.
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Extra resources for Shakespeare, the Orient, and the Critics
Example text
The first is Enobarbus’ renowned description of Anthony’s first meeting with Cleopatra on the river Cyndus in Asia Minor (“The barge she sat in, like a burnish’d throne” passage that occurs roughly in the middle of the Act) and Anthony’s determination, after the soothsayer’s warning against Octavius, to return to Cleopatra: I will to Egypt; And though I make this marriage for my peace, I’ the east my pleasure lies. (ACT 2, S CENE 3, LL . 37–9) Act 3 is the climactic middle act that sees the downward turn in Anthony’s and Cleopatra’s fortunes after the battle of Actium.
The Duke, Montano, his predecessor in Cyprus, and Cassio, all admire him and describe him in highly laudatory terms. In fact, the epithet, ‘noble,’ becomes almost inseparable from Othello’s name. ’ Most significantly, the love between Othello and Desdemona is presented as a real marriage of true minds and the very reverse of the low lust commonly attributed to the racist stereotype of similar situations. In fact, the major thrust of the first act is to underline the nature of this love, giving rise to some of the play’s most memorable lines: She loved me for the dangers I had pass’d, And I loved her that she did pity them (ACT I, S CENE 3, 167–168) SHAKESPEARE ’ S ORIENTALISM AND THE REVERSAL OF STEREOTYPES | 21 Even the Duke is impressed, conceding unhesitatingly: I think this tale would win my daughter too (ACT I, S CENE 5, 171) It is deliberately emphasized that far from being the lusty maniac of the racist stereotype, the ageing Othello may, in fact, be suffering from a decline of sexual desires: I therefore beg it not To please the plate of my appetite, Nor to comply with heat-the young affects In me defunct (ACT 1, S CENE 3, 257–260) The nobility of Othello’s love and character is, moreover, greatly strengthened by the support of another noble character-Desdemona.
And smooth success Be stew’d before your feet! (ACT 1, S CENE 3, LL . 93–101) Even when he does resolve to go back to Cleopatra; I will to Egypt; And though I make this marriage for my peace, I’ the east my pleasure lies. (ACT 2, S CENE 3, LL . 37–9) It is clear that Antony is still not fully committed to her, but remains “torn” between Rome and Egypt, and hence, in Cleopatra’s sense, false and opportunistic. More pathetically, Antony twice collapses, after each of the two major battles in the play, into a sexist denunciation of Cleopatra that surpasses in violence that of all the other Roman characters.