Stereotype and Prejudice in Elizabethan Drama
William Shakespeare and Thomas Dekker as Cases in Point
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Moors have been ill portrayed in English drama. Their image in the literary dramatic works that were produced during the Elizabethan era is negative. Most of plays in which a Moorish figure plays either a subsidiary or central role do precisely address a certain discourse on particular features that differentiate Moors from white Europeans. Three major features are highlighted recurrently as inherently characteristic of the character of the Moor. He is seen as being physically deformed, black, and sexually driven. These traits are considered as his most distinctive negative physical and moral ...
Moors have been ill portrayed in English drama.
Their image in the literary dramatic works that were
produced during the Elizabethan era is negative.
Most of plays in which a Moorish figure plays either
a subsidiary or central role do precisely address a
certain discourse on particular features that
differentiate Moors from white Europeans. Three
major features are highlighted recurrently as
inherently characteristic of the character of the
Moor. He is seen as being physically deformed,
black, and sexually driven. These traits are
considered as his most distinctive negative physical
and moral hallmarks that allow the whites to pass
over him a discourse of stereotyping, hence
enslavement.
Nevertheless, the Moor of the plays insists on
asserting his presence through reacting to whites
prejudices. He melodramatically weaves his clashes
with foes into marvelous scenes of sarcastic racial
self defense.
Their image in the literary dramatic works that were
produced during the Elizabethan era is negative.
Most of plays in which a Moorish figure plays either
a subsidiary or central role do precisely address a
certain discourse on particular features that
differentiate Moors from white Europeans. Three
major features are highlighted recurrently as
inherently characteristic of the character of the
Moor. He is seen as being physically deformed,
black, and sexually driven. These traits are
considered as his most distinctive negative physical
and moral hallmarks that allow the whites to pass
over him a discourse of stereotyping, hence
enslavement.
Nevertheless, the Moor of the plays insists on
asserting his presence through reacting to whites
prejudices. He melodramatically weaves his clashes
with foes into marvelous scenes of sarcastic racial
self defense.
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