الشخصية الإسلامية واليهودية في أدب عصر النهضة الإنجليزي

**د. عبد الله بن محمود** · 16/May/2010, 06:05 PM

الباحث: د/ إبراهيم علي أحمد شامي

الدرجة العلمية: دكتوراه

تاريخ الإقرار: 2006م

Introduction
There are four main objectives for this research; the first is to find out how the English writers portray the Muslim and the Jewish characters in their plays. To examine the historical factors, which may have determined these views of the Muslim and the Jewish characters is another aim for this research; offering a comparative study of the characters, with Jewish and Muslim background and to find out whether the writers’ treatment of these characters is likely to have been influenced by certain other writers and factors, or not are also among the objectives of this thesis.
It is an interesting fact that few writers and critics have dealt with the Muslim character in English literature, though so many writers seem to deal with the Jewish character .The general attitude towards the Jews at that time may have contributed in making writers as Shakespeare and Marlowe portray the Jewish character to attract the reader’s and audience’s attention to their plays. On the other hand, there were no explicit hints to the Muslim character. This is one of the reasons which made critics deal with the Jewish character more than the Muslim one. The Jewish character is represented clearly for example by Shylock in Shakespeare’s The Merchant of Venice.
Similarly Marlowe, Shakespeare’s contemporary, authored The Jew of Malta, a bloody farce in which the villain is a Jew who ridiculously and fanatically, is dedicated to killing Christians and wreaking havoc. Marlowe’s play was revived in 1594, when Rodrigo Lopez, a Portuguese Jew, was convicted and executed for allegedly attempting to poison Queen Elizabeth. These events would have been fresh in Shakespeare’s mind as he set about creating his own Jewish character. Charles Norton Coe (1972: 46) states:

When Shakespeare sat down to write The Merchant of Venice in 1549, anti- Semitism was in fashion, Marlowe had - exploited it four years previously. Barabas, The Jew of Malta, embodied in his wicked person all the qualities, which a persecuting majority commonly attributed to its victims. Jew had held the stage and during the excitement aroused by the trial of Lopez, between May and December 1594, his play was twenty times revived.
Only a few critics and writers have dealt with the Muslim characters. The first character is Tamburlaine in Marlowe’s Tamburlaine the Great. Tamburlaine is presented as an inspired, cruel scourge of God, proud king, great conqueror, and successful leader, brave, hardhearted and passionate character. He has an irrepressible lust for crowns and empire. Marlowe composed his play after the historical Muslim conqueror and king Timurlang who conquered vast areas and lands and became a well-known king and leader. The second is the Prince of Morocco in The Merchant of Venice. He is portrayed as a proud, brave and a respectable character. The Prince of Morocco said when he came to Belmont asking for Portia’s hand:

“Mislike me not for my complexion. The shadowed livery of the burnished sun to whom I am a neighbor and near bred.” He says further “I tell thee lady this aspect of mine hath feared the valiant” (II.I.1-9).
What Portia says in response to the Prince of Morocco is equally revealing. The third Muslim character is Othello in Shakespeare’s Othello. He is like the Prince of Morocco in his complexion. M. R. Ridely (1958:ii) has rightly remarked about Othello:
But rather, like the Prince of Morocco in a Q stage direction in The Merchant of Venice, a tawny Moor.
Othello is characterized as a jealous man; he is a noble Moor in the service of the Venetian State. He is a brave leader, a great warrior, and has a strong personality. He feels proud of himself and his nature and bravery. The European fascination for Arabs, Mongols Turks etc, goes back to the times of Spanish conquest and Muslims’ invasions of other lands. The Arabs were seen as legendry people. Translations of Arabian tales and other classical poets and narratives created in Europe an image of the east as fabulous, rich and mysteries. The fascination finds expression in the tendency to deal more and more with Muslim characters. These characters stand as representative of the Muslim character in Renaissance literature in English. In fact, the most important factor in evaluating these Moorish characters as representatives of Muslim is the dictionary meaning of word Moor and their behaviors, which reflect the Muslim ethos. Horney and Cowie (1989:803) while defining the meaning of word Moor make the following observations:
Moor a) Member of the Muslim people living in NW Africa.
(b) One of Muslim Arabs who invaded Spain in the 8th century.
Horney with Gimson and Cowie (1974:548) point out that the “Moor is: a member of the Muslim peoples of mixed Arab and Berber blood who now live in NW Africa; one of the Muslim Arabs who invaded Spain in the 8th century,”Maurice Waite (1998:411) has defined Moor as “Member of Muslim people of NW Africa,” Munir Ba’albaki (1994:591) has defined the Moor as: “one of the Muslim invaders who invaded Spain in the 18th century.” And he defined the adjective Moorish as a Muslim. Laurence Urdang (1995:373) defines Moor as: “Member of a Muslim people of NW Africa.” These definitions of the words Moor and Moorish from well known dictionaries prove and confirm the idea that Othello, the Prince of Morocco are Muslim characters. In addition to this, Norman Sanders (1997:14) while talking about the race and color of Othello, states:

[فقط الأعضاء المسجلين يمكنهم رؤية الروابط. ]
منتدى الإيوان اللغوي
[فقط الأعضاء المسجلين يمكنهم رؤية الروابط. ]

16/May/2010, 06:05 PM	#1 (permalink)
د. عبد الله بن محمود عضو اللجنة الاستشارية للمنتدى تاريخ التسجيل: Jan 2009 المشاركات: 457 Thanks: 102 Thanked 85 Times in 44 Posts معدل تقييم المستوى: 4	الشخصية الإسلامية واليهودية في أدب عصر النهضة الإنجليزي الباحث: د/ إبراهيم علي أحمد شاميالدرجة العلمية: دكتوراهتاريخ الإقرار: 2006م Introduction There are four main objectives for this research; the first is to find out how the English writers portray the Muslim and the Jewish characters in their plays. To examine the historical factors, which may have determined these views of the Muslim and the Jewish characters is another aim for this research; offering a comparative study of the characters, with Jewish and Muslim background and to find out whether the writers’ treatment of these characters is likely to have been influenced by certain other writers and factors, or not are also among the objectives of this thesis. It is an interesting fact that few writers and critics have dealt with the Muslim character in English literature, though so many writers seem to deal with the Jewish character .The general attitude towards the Jews at that time may have contributed in making writers as Shakespeare and Marlowe portray the Jewish character to attract the reader’s and audience’s attention to their plays. On the other hand, there were no explicit hints to the Muslim character. This is one of the reasons which made critics deal with the Jewish character more than the Muslim one. The Jewish character is represented clearly for example by Shylock in Shakespeare’s The Merchant of Venice. Similarly Marlowe, Shakespeare’s contemporary, authored The Jew of Malta, a bloody farce in which the villain is a Jew who ridiculously and fanatically, is dedicated to killing Christians and wreaking havoc. Marlowe’s play was revived in 1594, when Rodrigo Lopez, a Portuguese Jew, was convicted and executed for allegedly attempting to poison Queen Elizabeth. These events would have been fresh in Shakespeare’s mind as he set about creating his own Jewish character. Charles Norton Coe (1972: 46) states: When Shakespeare sat down to write The Merchant of Venice in 1549, anti- Semitism was in fashion, Marlowe had - exploited it four years previously. Barabas, The Jew of Malta, embodied in his wicked person all the qualities, which a persecuting majority commonly attributed to its victims. Jew had held the stage and during the excitement aroused by the trial of Lopez, between May and December 1594, his play was twenty times revived. Only a few critics and writers have dealt with the Muslim characters. The first character is Tamburlaine in Marlowe’s Tamburlaine the Great. Tamburlaine is presented as an inspired, cruel scourge of God, proud king, great conqueror, and successful leader, brave, hardhearted and passionate character. He has an irrepressible lust for crowns and empire. Marlowe composed his play after the historical Muslim conqueror and king Timurlang who conquered vast areas and lands and became a well-known king and leader. The second is the Prince of Morocco in The Merchant of Venice. He is portrayed as a proud, brave and a respectable character. The Prince of Morocco said when he came to Belmont asking for Portia’s hand: “Mislike me not for my complexion. The shadowed livery of the burnished sun to whom I am a neighbor and near bred.” He says further “I tell thee lady this aspect of mine hath feared the valiant” (II.I.1-9). What Portia says in response to the Prince of Morocco is equally revealing. The third Muslim character is Othello in Shakespeare’s Othello. He is like the Prince of Morocco in his complexion. M. R. Ridely (1958:ii) has rightly remarked about Othello: *But rather, like the Prince of Morocco in a Q stage direction in The Merchant of* Venice, a tawny Moor. Othello is characterized as a jealous man; he is a noble Moor in the service of the Venetian State. He is a brave leader, a great warrior, and has a strong personality. He feels proud of himself and his nature and bravery. The European fascination for Arabs, Mongols Turks etc, goes back to the times of Spanish conquest and Muslims’ invasions of other lands. The Arabs were seen as legendry people. Translations of Arabian tales and other classical poets and narratives created in Europe an image of the east as fabulous, rich and mysteries. The fascination finds expression in the tendency to deal more and more with Muslim characters. These characters stand as representative of the Muslim character in Renaissance literature in English. In fact, the most important factor in evaluating these Moorish characters as representatives of Muslim is the dictionary meaning of word Moor and their behaviors, which reflect the Muslim ethos. Horney and Cowie (1989:803) while defining the meaning of word Moor make the following observations: Moor a) Member of the Muslim people living in NW Africa. (b) One of Muslim Arabs who invaded Spain in the 8th century. Horney with Gimson and Cowie (1974:548) point out that the “Moor is: a member of the Muslim peoples of mixed Arab and Berber blood who now live in NW Africa; one of the Muslim Arabs who invaded Spain in the 8th century,”Maurice Waite (1998:411) has defined Moor as “Member of Muslim people of NW Africa,” Munir Ba’albaki (1994:591) has defined the Moor as: “one of the Muslim invaders who invaded Spain in the 18th century.” And he defined the adjective Moorish as a Muslim. Laurence Urdang (1995:373) defines Moor as: “Member of a Muslim people of NW Africa.” These definitions of the words Moor and Moorish from well known dictionaries prove and confirm the idea that Othello, the Prince of Morocco are Muslim characters. In addition to this, Norman Sanders (1997:14) while talking about the race and color of Othello, states: [فقط الأعضاء المسجلين يمكنهم رؤية الروابط. ] منتدى الإيوان اللغوي [فقط الأعضاء المسجلين يمكنهم رؤية الروابط. ]** آخر تعديل بواسطة د. عبد الله بن محمود ، 18/May/2010 الساعة 03:49 AM

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