How is setting presented in ‘Othello’?
In ‘Othello’, Shakespeare uses setting and the contrast between ‘liberal’ Venice and “warlike”
Cyprus, not merely as a physical backdrop, but also as a symbolic reflection of the latent racism
embedded within rigid Elizabethan society. As Loomba notes, “Moors were typed as godless
[and] bestial,” within these hierarchies, but arguably Shakespeare critiques the absurdity and
toxicity of these beliefs, which were upheld by a corruptive white hegemonic class.
Importantly, Shakespeare exposes how settings and societies that appear progressive can be
deeply rooted in oppression. Thus, powerfully setting is used to symbolise the cyclical
entrapment within toxic prejudiced beliefs, and advocate for greater equality from unjust
societies.
Evidently, Shakespeare uses the shift in setting, from Venice to Cyprus, to critique non-
tolerant, oppressive societies. Venice, from the outset, represents a cosmopolitan setting that
challenges latent racism. During the 17th century, Venice was often viewed, as Loomba notes,
as an “open society,” with a reputation for its religious and political tolerance due to its diverse
population and influx of immigrants. This cultural openness was reflected in paintings such as
The Healing of the Possessed Man, which depicts African gondoliers and traders, symbolising
the city’s acceptance of racial diversity. Thus, it appeared to be welcoming to Othello, whom
initially feels integrated into this tolerant society, seen in his asyndeton “my parts, my title, my
perfect soul,” delineating how highly he values himself; in fact the use of blank verse, a literary
form reserved for respected, noble individuals, further accentuates this self-respect. The
epithet “noble Othello,” portrays how in a Venetian setting, Othello is valued by society. Unlike
Shakespeare’s first black character, Aaron from Titus Andronicus, who was deliberately
violent, Othello (as Loomba argues) “reshapes available images of blackamoors.” Rather than
be “prone to anger or jealousy,” in Venice he remains calm and through blank verse, “put you
your swords down / for the dew will rust them,” seeks to resolve conflicts. Albeit, the shift in
setting to Cyprus – a “warlike isle” structurally isolated from this civilisation and acceptance –
creates a stark juxtaposition in Othello’s character. Known for its position at the centre of
Mediterranean conflict and Christian wars, Cyprus was viewed as chaotic and dangerous,
contrasting to the more cosmopolitan and structured Venice. In this new setting, Othello’s
once polite, noble character is juxtaposed with his descent into prose and violence of “I’ll tear
her all to pieces.” As Colderidge recognises Othello has “become a being next to the devil,” as
he no longer complies to Loomba’s argument of “reshap[ing]” stereotypes, and conforms to
beliefs of geohumourism, committed to “murder[ing]” Desdemona. Arguably, this change in
Othello’s characterisation could be because, as Phillips argues, “[he] feels constantly
threatened and profoundly insecure.” The change in setting, from the accepting liberal society
of Venice, to the isolated, un-civilised Cyprus has moved Othello away from a society where
he was accepted, thus contestably he starts to internalise societal xenophobic views. In stark
juxtaposition to his once pride over his identity, Othello now internalises racist beliefs, when
he laments “her name, that was as fresh as Dian’s visage, is now begrimed and black as mine
own face.” The allusion to Dian, the goddess of purity, highlights Othello’s self-degradation,
using colour symbolism to suggest he believes he has tainted Desdemona’s purity. Thus
Cyprus, an unliberal setting, symbolises the toxicity and destruction that racist ideologies can
inflict on an individual’s sense of identity; arguably it can corrupt their once moral identity. In
In ‘Othello’, Shakespeare uses setting and the contrast between ‘liberal’ Venice and “warlike”
Cyprus, not merely as a physical backdrop, but also as a symbolic reflection of the latent racism
embedded within rigid Elizabethan society. As Loomba notes, “Moors were typed as godless
[and] bestial,” within these hierarchies, but arguably Shakespeare critiques the absurdity and
toxicity of these beliefs, which were upheld by a corruptive white hegemonic class.
Importantly, Shakespeare exposes how settings and societies that appear progressive can be
deeply rooted in oppression. Thus, powerfully setting is used to symbolise the cyclical
entrapment within toxic prejudiced beliefs, and advocate for greater equality from unjust
societies.
Evidently, Shakespeare uses the shift in setting, from Venice to Cyprus, to critique non-
tolerant, oppressive societies. Venice, from the outset, represents a cosmopolitan setting that
challenges latent racism. During the 17th century, Venice was often viewed, as Loomba notes,
as an “open society,” with a reputation for its religious and political tolerance due to its diverse
population and influx of immigrants. This cultural openness was reflected in paintings such as
The Healing of the Possessed Man, which depicts African gondoliers and traders, symbolising
the city’s acceptance of racial diversity. Thus, it appeared to be welcoming to Othello, whom
initially feels integrated into this tolerant society, seen in his asyndeton “my parts, my title, my
perfect soul,” delineating how highly he values himself; in fact the use of blank verse, a literary
form reserved for respected, noble individuals, further accentuates this self-respect. The
epithet “noble Othello,” portrays how in a Venetian setting, Othello is valued by society. Unlike
Shakespeare’s first black character, Aaron from Titus Andronicus, who was deliberately
violent, Othello (as Loomba argues) “reshapes available images of blackamoors.” Rather than
be “prone to anger or jealousy,” in Venice he remains calm and through blank verse, “put you
your swords down / for the dew will rust them,” seeks to resolve conflicts. Albeit, the shift in
setting to Cyprus – a “warlike isle” structurally isolated from this civilisation and acceptance –
creates a stark juxtaposition in Othello’s character. Known for its position at the centre of
Mediterranean conflict and Christian wars, Cyprus was viewed as chaotic and dangerous,
contrasting to the more cosmopolitan and structured Venice. In this new setting, Othello’s
once polite, noble character is juxtaposed with his descent into prose and violence of “I’ll tear
her all to pieces.” As Colderidge recognises Othello has “become a being next to the devil,” as
he no longer complies to Loomba’s argument of “reshap[ing]” stereotypes, and conforms to
beliefs of geohumourism, committed to “murder[ing]” Desdemona. Arguably, this change in
Othello’s characterisation could be because, as Phillips argues, “[he] feels constantly
threatened and profoundly insecure.” The change in setting, from the accepting liberal society
of Venice, to the isolated, un-civilised Cyprus has moved Othello away from a society where
he was accepted, thus contestably he starts to internalise societal xenophobic views. In stark
juxtaposition to his once pride over his identity, Othello now internalises racist beliefs, when
he laments “her name, that was as fresh as Dian’s visage, is now begrimed and black as mine
own face.” The allusion to Dian, the goddess of purity, highlights Othello’s self-degradation,
using colour symbolism to suggest he believes he has tainted Desdemona’s purity. Thus
Cyprus, an unliberal setting, symbolises the toxicity and destruction that racist ideologies can
inflict on an individual’s sense of identity; arguably it can corrupt their once moral identity. In
