A RESEARCH ESSAY ON "THE WORK OF SHAKESPEARE AND ITS IMPACT ON THE MUSLIM WORLD"

                 THE WORK OF SHAKESPEARE AND ITS IMPACT ON THE MUSLIM WORLD

¹ Prof. Aliya Siddique ² Prof. Muhammad Naeem

Laureate Folks International

https://laureatefolks.blogspot.com

laureatefolks@gmail.com, WhatsApp: +923334446261

 

Introduction

Shakespeare (1564–1616) is without a doubt one of the most well-known personalities in Western culture. His writings have translated into every living language, and he has an extraordinary corpus of over 37 plays and 150 sonnets from a literary career that spanned nearly three decades. His dramatic interpretations continue to captivate audiences all around the world. According to British Muslim researcher Martin Lings, Shakespeare had the unusual ability to portray "what other authors fail to achieve in a full-length work with a few great strokes of the pen." King Lear, Macbeth, and Hamlet are considered the pinnacle of English literature.

1.      Background

Before delving into Shakespeare's significance for Muslims in the United States, it's crucial to recall the historical context in which he wrote about the Muslim world. In Shakespeare's time, Muslim civilization was very much alive and well, and the Ottoman Empire, in particular, was a key actor on the global scene. The Safavid Empire had established itself in Iran, while the Moghuls in India achieved their pinnacle of power under Akbar, who ruled over a spiritual revival from 1560 to 1605.

1.1 knowledge of Islam

Shakespeare had a fundamental knowledge of Islam, regardless of the lack of well-known message and transportation that encapsulates the modern world. "Shakespeare read Richard Knolles' General History of the Turks (1603)," according to the author. According to another Shakespearean specialist Gary Taylor, "He mentions Islam at least 141 times in 21 different plays, including the prophet 'Mahomet,' Morocco and Barbary, Constantinople, Moors, Turks, Ottomites, sultans, Saracens, and moriscos."Most importantly, during Shakespeare's lifetime, Queen Elizabeth hosted two Moroccan ambassadorial delegations:

"As he [the Moroccan ambassador] and his delegation entered London, traveling up from Dover, crowds stood watching the white-robed and turban-headed Moors. Whether William Shakespeare was standing in the crowd in the afternoon, we do not know. But as news traveled around the city about the arrival of the Moroccans, Shakespeare might have remembered his late friend and co-author George Peele. Eleven years earlier, the two of them had learned of the arrival of the first Moroccan delegation ever to Elizabeth's England. After the arrival of this ambassador, Peele wrote 'The Battle of Alcazar,' the first Moor drama, and Shakespeare wrote 'Othello,' the finest of all Moor plays. Moors on London's streets led to Moors on the Globe's stage. They were a direct result of England's diplomatic initiative in Islamic matters, involving affiliations and collusions between the Christian Queen of England and Morocco's Muslim monarch."

Peele had subsequently written 'The Battle of Alcazar' the first Moor play, and after the arrival of this ambassador, Shakespeare would write 'Othello' the greatest of all Moor plays. Moors on the streets of London led to Moors on the stage at the Globe. They were a direct result of England's diplomatic initiative into Islamic affairs - associations and collusions that took place between the Christian Queen of England and the Muslim ruler of Morocco." (Nabil, 2004)

Crowds gathered to observe the white-robed and turban-wearing Moors as he [the Moroccan envoy] and his group arrived in London from Dover. We don't know if William Shakespeare was among the gathering that afternoon. Shakespeare may have mourned his late friend and co-author George Peele as word of the Moroccans' arrival spread around the city. They'd heard of the first Moroccan mission's visit to Elizabeth's England eleven years previously. Peele wrote 'The Battle of Alcazar,' the first Moor drama, and Shakespeare wrote 'Othello,' the best of all Moor plays after this ambassador arrived. Moors on London's streets eventually became Moors on the Globe stage. They were the direct result of England's diplomatic endeavor in Islamic affairs, which included affiliations and collusions between the Christian Queen of England and Morocco's Muslim king." We discover possibly Shakespeare's contribution about the cross-cultural interaction between Muslims and the Western in Othello, his portrayal of the African Moor.

1.2 Muslim Civilization

It is just an effort to explore the Islamic and Arab origins of the works of William Shakespeare, the famous playwright. He had to have lived during a period when Muslim civilization had spread over the Western world. However, it is not published or discussed in any way. The works of literature are among the best commentary of all time, and studying them can help us realize something that we have all missed in the wastelands of the period.

We feel that in the 18th and 19th centuries, there was still a conscious effort to eradicate everything associated with Islam from the modern western civilization. It accomplished, transmitting works with Islamic origins which acknowledged. As a result, the stories they stole, locked away, and their work followed their lead. It's not just about poetry; it also includes science, philosophy, and other topics.

2.      Shakespeare and religion

Shakespeare was not a Stratford man, a gentleman of the kingdom, the Chancellor of the Exchequer, or a dark-skinned Jewish Italian woman, as has long been acknowledged. He was Sheik Al-Zubir, an Arab Muslim living in the United Kingdom. Look at the large lips, dark skin, and Islamic beard in the Chandos portrait. His plays demonstrate how much he despised Jews, Turks, and the British.

Despite the fact that Queen Elizabeth's government recognizes only one powerful faith in Shakespeare's England, his plays and poetry show four distinct religions: Christianity, Judaism, Islam, and the state religion of the Roman Empire. The first has gotten the greatest attention, and rightly so because it established the environment he lived in, in which people were violently divided against one another, with his predisposition throughout the plays shifting toward moderate Protestantism, which was England's state religion at the time.

Reading was the only way he could learn about the other three religions. Despite the fact that there were few Jews in England during Shakespeare's lifetime, their concentration in London and participation in court entertainment suggest he may have met some (Woods 1999, p. 49, n. 181).

They have little or no resemblance to the anti-Jewish prejudices that inform Shylock in The Merchant of Venice, or Christopher Marlowe's healing of Barabas in The Jew of Malta—to the point that Shylock becomes a sympathetic rather than a dangerous character.

Despite the fact that the Turks posed a political threat to Europe during Shakespeare's lifetime, Islam is far less prominent in his works than Judaism. The story in Othello that "a storm hath hammered the Turks," delaying a projected invasion on Cyprus, echoes real-world fears of an Arab World threat, while the text could possibly be a reference to the Spanish Armada of 1588.

In the context of the play, the report is a welcome relief, but it pales in comparison to the tremendous scale of personal danger that hangs in the air. Despite the fact that no book has been written regarding Shakespeare and Islam, it is both useful and enlightening. Shakespeare's Othello, according to Susan Clegg, is considered as a Muslim convert to Christianity. She mentions various easy-to-find works about the Moors and Turks at the time Othello was written, emphasizing the need of "thorough notions of justice and law in Islamic communities" (Clegg 2006, p. 3). When Othello kills Desdemona because he believes she is disloyal to him, this may be interpreted as an appeal to justice.

While "switching Turks" was frowned upon in Christian Europe, converting from Islam to Christianity was welcomed, especially when the convert possessed Othello's military skills, experience, and leadership qualities. Simultaneously, Othello returns to contemporary European understandings of Muslim values, and in killing his wife because he suspects she has slept with Cassio, he "registers newly formed English concerns about cultural separateness and the rising threat of losing one's identity to the Islamic Ottoman Empire" (Johanyak, 2010, p. 81). "If Othello's marriage to Desdemona is based on a fundamentalist (Christian) conception of human sexuality,

Religion was both vital and troublesome in Shakespeare's England. Judaism and Islam were minor and doubtful, and the prevailing religion was troublesome because Catholic authorities on the peninsula were a constant threat to Elizabeth's Protestant rule. As a result, when Shakespeare was born in 1564, he was raised in a climate of religious strife and insecurity. At Holy Trinity Church, where his older sister, Joan, had been baptized by an English Catholic priest eight years previously, he was christened by an English Protestant priest. The difference between the two baptisms was established by the order of two strangers to his family, rather than by his parents' decision. Mary and I are best friends.

Mary was a devoted Catholic who restored the Roman orthodoxy of the English state church. The difference between the two baptisms was determined by the decision of two strangers to his family, not by his parents. Half-sisters Mary and Elizabeth Tudor, who reigned over England in succession in the mid-sixteenth century, were strangers. After what she perceived as years of Protestant apostasy under her father, Henry VIII (r. 1509–1547), and her brother, Edward VI (r. 1547–1553), Mary became a devout Catholic who restored the English state church to Roman orthodoxy. Joan Shakespeare was born shortly before Mary's brief reign (1553–1558) ended, although William Shakespeare was born during Elizabeth I's reign.

During Elizabeth's reign (1558–1603), only Protestant priests were permitted in the English church, which is why William Shakespeare was christened as a Protestant in 1564.

Due to exogenous circumstances in his life paired with his silence, determining Shakespeare's religious allegiance is difficult, if not impossible. There are no notebooks, blogs, notes, or remarks from him or the others who have survived to help answer the issue, but that hasn't stopped many people from attempting to answer it. Because of Shakespeare's enduring popularity in the decades since his death, the stakes for Catholics are quite high. If it can be proven that he was a member of an oppressed religious group,

As Milward's essay demonstrates, one can try to circumvent the challenge of obtaining external proof of Shakespeare's religious membership by understanding his work in a different way. The risk of logical fallacy is significant in this inquiry, with some researchers appearing to be less aware of the hazard than others (Asquith 2005; Wilson 2004). Perhaps this is why, after a period of strong support in the early twenty-first century, efforts to identify Shakespeare as a Catholic have decreased in the last ten years (Ackroyd 2006; Greenblatt 2004).

3.      Ottoman Empire

England saw the development of the economic activity, abroad excursions, and adventurous trips far and wide at the dawn of the Renaissance. Because of the development of shipping routes, England had business links with Muslim East and North African countries such as Persia, Turkey, Morocco, Algeria, Tunisia, and others. As a result, official contacts between England and the Ottoman Empire's Middle East and North Africa were strengthened. Throughout this time, hostility developed between Catholic European countries such as Spain and Protestant European countries such as England. As a result, official contacts between England and the Ottoman Empire's Middle East and North Africa were strengthened. Throughout this time, hostility developed between Catholic European countries such as Spain and Protestant European countries such as England. As a result, the bulk of European countries that had converted to Catholicism rejected Protestant England. As a result, England thought that allying with Islamic Ottoman and northwest African Islamic kingdoms was a good idea. As a result, the economic and financial connection between England and the Ottoman Empire grew stronger, and it is stated that this partnership was stronger than it had ever been previously during Queen Elizabethan times. Queen Elizabeth formed a friendly connection with Ottoman Sultan Murad III, and the two agreed to support an Anglo-Ottoman coalition, which helped England secure trading privileges and allowed it to confront the menace of Spain. The arrival of Morocco's ambassador to London in 1600 opened up new possibilities for improving the two countries' connections.

Many Orient tendencies filtered into English society as trade channels opened up and Queen Elizabeth I pursued new relationships with the East. The English women had "an insatiable desire" for "Turkish trifles" - jewelry, textiles, toys, and spices, while the English men adored devilish Turkish "moustachio" (sic). (Harrison and Georges 1994:145-6, as well as Dimmock 2015: para. 4) Jerry Brotton points out that, in terms of its interaction with the Islamic world,

Commerce between England and Turkey, Morocco, and Persia...

 From what individuals ate to what they wore – and even what they said –

 the household economy of Elizabethan England was revolutionized.

Persian and Ottoman rugs and carpets, in addition to sugar, silks, and spices, adorned Elizabethan houses.

During this time, the words sugar,' 'candy,' 'crimson' (from the Turkish karmic), 'turquoise' (or 'Turkey stone'), 'tulip' (from the Turkish pronunciation of Persian dual-band, or 'turban'),

or even 'zero' all entered the English language and acquired modern associations,

owing mainly to the impacts of Anglo-Islamic trade' (2018: 23).

Surprisingly, the English were both captivated and terrified by the growing engagement with Oriental Muslims. During the Elizabethan period, the Ottoman Empire and England had a complicated and dual relationship. On the one hand, England needed to preserve excellent relations with the Muslim world, but Western England also wanted to distance itself from things Oriental and Islamic. Despite their infatuation with Muslim clothes and lifestyles, the English were terrified and hostile to the presence of Oriental influence for a variety of reasons. Easterners are usually seen as exotic, unsophisticated, and inferior to Westerners, according to Edward Said. Muslims were portrayed by moralists as immutable archetypes with an inherently evil nature, and they were frequently criticized for imitating the 'inferior' East (1979: 2-3 and 30-45 and Abdullah 2015: 52-60).

3.1 Western Authors

This emotion was purposefully presented in Western literary works to legitimize colonialization narratives and declare the imperial West/English supremacy over the Eastern peoples, whom they regarded to be uncivilized, untrustworthy, and barbarian. This viewpoint, as a 'cultural endeavor' articulated through the works of literature of Western authors such as Shakespeare and Marlowe, aided them, as it required the West to civilize and rule over the Orient's 'inferior' races. Edward Said argues in his famous work, Orientalism, that Western writers give a biassed and distorted view of the Orient, mainly based on preconceptions and inaccurate facts. This is done to assert colonial dominance over Oriental subjects. The colonial aim of the West over the imperial East was largely justified by 'creating' the Orient as a stereotype, which "had been a realm of passion, strange creatures, disturbing recollections" since antiquity (Bullock, et al. 2000: 117 and Said 1979: 1).

According to Said, religious competition has exacerbated Western perceptions of the east, and as a result, "the key issue for the Western tourist was a European image of the Orient and its modern destiny, which both have a favored community importance" (Ibid:1). As a result, European authors of the time would unwittingly depict Muslim characters as 'brutal, savage, illogical, lusty, and uncultured' antagonists to the west's cherished principles. According to Said, orientalist speech on the Orient had such an "authoritative... stance" that "nobody writing, reasoning, or behaving on the Orient could do so without taking note of the restrictions on the action and thought set by Orientalism" (Said: 1979: 3).

Furthermore, the eager and ever-expanding Ottoman Empire, which was also encroaching on Western nations, was intimidating European countries, including England. One of the key factors that threatened the English in particular and Westerners more generally was the Ottoman Empire's huge development as a world power. In the 16th-century world geographical structure of power, the English were still minor actors as contrasted to the Ottoman Turks. After two major incidents, the Fall of Constantinople in 1452 and the Ottoman siege of Vienna in 1529, the Ottoman Muslims were viewed as a global empire threatening to overturn Europe. As a result of their feelings of inadequacy and worthlessness, the English felt it necessary to portray Ottoman Muslims or Islam in a negative light while portraying themselves in a positive light to create a view of their superiority, or "to describe martial Christian courage and bravery and demonize enemies [Muslims]" in the eyes of the masses (Dimmock 2005:3). As a result, the west used the term "orientalism" to describe its approach to the Muslim world:

In summary, by making comments about it, authorizing viewpoints on it,

characterizing it, educating it, resolving it, and governing over it.

Orientalism as a European strategy for conquering, reforming,

and controlling the Orient" (Said 1979: 3).

As a "tremendously methodical process through which Western civilization was able to manage- and even produce- the Orient politically, socioculturally, technologically, intellectually, academically, and creatively," the west developed a large body of creative "discussion" of "information and knowledge" (Said 1979:3). "Misinformation of the real nature of Islam was not the only basis for antagonism between the Islamic East and the Christian West," Norman Daniel argues, "since there was not enough first-hand knowledge to remove most of the misinformation" (1960: 45). The West's attitude toward Islam is exacerbated by a lack of actual knowledge and education of Muslims, as well as a communication barrier between the two faith groups.

3.2 Muslim Characters

The dominant impression seems to be the English authors' direct morals about their Oriental Muslim characters. As a result, English writers, artists, and dramatists created works of literature and staged plays that misrepresented the real story of the Orient and attempted to satisfy their audience by portraying a successful, "higher," and indestructible European persona. Between 1579 and 1624, several dramas featuring Muslims dressed as Turks and Moors with Islamic themes and settings were performed in London theatres. This statistic exemplifies the enormous impact of Oriental Muslims in the life of the English. It also reveals how eager the English were to portray Oriental Muslim people with extreme qualities and impose racial attitudes on them to minimize the emotional harm they faced under Ottoman rule. Shakespeare's satire of the 'Turk play' begins in 2 Henry IV with the arrogant braggart Pistol. The pistol is a clear caricature of the angry 'Grand Turk' protagonist, who is completely out of control, martially obsessive, and devoid of any self-awareness or self-doubt. To accentuate a bar quarrel with a prostitute, Shakespeare has him misquote famous lines from three of the genre's most well-known instances.

Moors and Moroccans, as well as those from the Arabian Gulf, the Middle East, and North Africa, are considered Arabs. Other people from the East, such as Turks, could be included. The phrase "moors" is a colloquial term used frequently in Medieval and Renaissance England. The "moor," "black moor," "and Negroes," "Indians," "Mahometans," and "Muslims" were all mentioned. These terms are often used interchangeably.

These individuals were seen in Shakespearean plays playing diverse roles. Othello is an excellent example. Othello, the play's main character, is a racial and cultural outcast in Venice. The Arabs had a significant role in Shakespeare's plays, particularly in the tragedy Othello. In the modern and current study, these representations have become an important topic. Arabs have been depicted in English and European literature in several studies.

The focus of this discussion will be on the relationship between Shakespeare's Arab portrayal in his plays and the preconceptions of his period. This might be stated to comprise historical and literary transdisciplinary studies. This is, nonetheless, a literature paper. This study will employ the term Arab; however, other Eastern peoples, such as Turks, may be included as needed.

4.      Shakespearean Characters

Shakespeare triggers all the illusions that have plagued white culture about intermarriage until now in his tragedy Othello, by presenting the male protagonist as black. The double standards of modern society, a fortiori in Shakespeare's day, do not contain the same venom for white-black relationships when the presumed dominant and subservient gender roles are matched in racists' imaginations with the intended racial roles (Serageldin 1998). Othello is ruined because of his race and his former, if not current, religion, despite his Venetian merit, which also demands him to forsake himself.

In terms of Morocco and the image of the Moors, the relationship between Morocco and England was relatively positive. Throughout, the connection between the two monarchs was unique, despite occasional transgressions on both sides. The Anglo-Moroccan affiliation was so powerful at one point that the two sides fought side by side in the Cadiz expedition to penalize the Spanish (the common enemies of the Moors and the English) and planned to restore the Portuguese contender to his Royal seat and challenge Spanish interests in the Atlantic and the West Indies, as stated in the introduction and throughout this thesis. Matar characterizes the Shakespearean period as fluctuating between cooperation and conflict, trade and piracy in the relationship between England and Morocco.

Shakespeare was not the only writer to use exotic and foreign locations in his plays, but he stood out because he succeeded where many others had failed. Many of his fellow authors were unable to imagine life through the eyes of these 'others' (Elaskary 2008). As with the image of the Jew, Shakespeare was daring enough to introduce a change in the depiction of the Moor. Shakespeare brought numerous varieties of Moors and blackmoors to his viewers and followers.

Other than Othello, the most famous, if not infamous, of Shakespeare's Moors is Aaron in Titus Andronicus, while Caliban in The Tempest deserves to be his deputy. Aaron is one of Shakespeare's well-spoken antagonists. He is portrayed as an "inhuman dog, unhallowed slave" (Act V, iii, 14), and he commits atrocities against the other characters in the play. Caliban is a dwarfish picaresque character.

The portrayal of Moors in the period under consideration (as it has always been) was always political. As a result, astute readers will notice, Moors with darker skin were more frequently represented in the darkest colors; cruel conspirators, haters, and killers, than those with light or brown skin. This group could include Muly Mahomet, Aaron, and Caliban. On the other hand, the North African Moors did well in London. In this category, you'll find Abdelmelec, Muly Hamet, and Othello. Close ties between Morocco and England had a positive impact on how Moroccans were represented on the London stage if nothing else could have whitened the black Moors (Elaskary 2008). When it came to expressing the "other" in Elizabethan England, the political aspect, rather than the religious, ethnic, or cultural aspects, proved to be the most important. Outright opposing, confronting, or criticizing the period's political position may not have been safer (or better) for Elizabethan dramatists. Abdelmelec, Muly Hamet, and Othello are among the characters in this group. If nothing else could have turned the dark Moors white, it was the strong ties between Morocco and England. When it came to expressing the 'other' in Elizabethan England, the political, rather than religious, ethnic, or cultural aspects, took the lead. Openly opposing, disputing, or criticising the period's political position may not have been proper (or safe) for Elizabethan dramatists.

Those who dared to question and challenge political taboos were destitute or imprisoned during the time. John Marston (and Robert Greene) were imprisoned and their manuscripts burned for their anti-James, I, writings at the turn of the seventeenth century. Othello's anguish is exposed in front of the audience, and it continues to battle racism and gender injustice in today's society. It acknowledges that jealousy can feed on underlying human weaknesses in all of us, but it also asks us to evaluate the social circumstances that would prevent individuals from acting naturally and compassionately, and why that should be the case (Serageldin 1998).

Othello reveals a playwright who is defying theatrical tradition, particularly hackneyed caricatures of Muslims and 'Mahometanism,' by producing something more expressive of his culture's sensitive connection with Islam. Furthermore, something Shakespearean evolved from the situation. Othello displays a playwright who continues to defy dramatic convention, particularly cliched stereotypes of Muslims and 'Mahometanism,' by creating something more reflective of his culture's delicate relationship with Islam. This lengthy and fascinating conversation also yielded something Shakespearean.

Shakespeare's plays were translated and reworked specifically for dramatic companies in Egypt and other Arab countries in the late nineteenth century, allowing them to penetrate the Arab world as theatre. Hamlet was first performed in Egypt in 1893, and it was a huge hit with Egyptian audiences who were fascinated by ghosts, retribution, and madness. Shakespeare translations from 18th-century French editions were used in the productions. As a result, the play was dramatically revised, with entire sections deleted and new songs introduced, as well as Hamlet making love to Ophelia in Arabic love poetry and any profanity gently expunged.

Above all, the play was adapted into a historical drama in which Hamlet defeats his uncle, ascends to the throne, and reigns with the help of the Ghost. Regardless of literary studies, Hamlet thrived as a theatrical performance in Egypt in the late 19th and early 20th centuries, emerging in dramatically transformed, edited, and created versions. "All the scents of Arabia will not sweeten this small hand," Lady Macbeth says in Shakespeare's Macbeth. (Scene 1 of Act 5)

Because his plays were aimed at the ordinary individual, this amazing piece of information must have meant a great deal to the individuals who said the play. As a result, Arabian perfumes must have gained such a reputation that people would immediately understand what he was talking about without further explanation. There are no references or additional explanations, yet it would be impossible for anyone in our day to comprehend. If history textbooks need to be accepted, Macbeth was written between 1603-07, and there was very little communication between Britain and the Islamic World, yet this short quote disproves that. There has to have been some sort of communication, or at the very least some trade, that became well-known among the general public.

It could be contrasted to Curry in our time, a dish that originated in the East but has risen in popularity to the point that the typical guy understands what you mean when you say, "Let's go for a curry." As a result, the area of inquiry in terms of literature would be worthwhile to pursue by reviewing any available writings from the historical period.

The Prince of Morocco had a spoken role in 'Merchant of Vince,' however a minor one. This demonstrates that Muslims must have traded in Venice's culture, which is equally noteworthy. Act 2 scene 1, features ‘a tawny moor' dressed entirely in white. This is a true representation of Muslim attire, as wearing white is an Islamic custom that was suggested by the Prophet (may Allah grant peace and blessings upon him).

"Do not dislike me for my color," he continues, pointing to the Moor's dark skin tone. Moors are commonly pictured as marauding black men who invaded sections of Europe. He could have been either Berber or Arab. Surprisingly, the book specifies that he was dressed entirely in white, but in a BBC rendition, he was dressed entirely in black!

He also mentions his valor in battling for Sultan Solyman, who is almost certainly an allusion to Suleman the Magnificent, one of the Ottoman Sultans' greatest. Suleman died in 1566, and this account was written between 1596 and 1598, more than thirty years later. If this prince had battled for the Sultan, he would be very well into his fifties at the very least. At the age of 71, the Sultan passed away. He also mentions fighting the Persians, which is noteworthy because the Ottomans frequently fought the Shia Safavid Empire. Shakespeare, like the majority of his audience, was aware of this as a result. The Sultan also possessed a marine army in the Mediterranean.

"Was Mahomet inspired by a dove?" asks the character at the end of scene two in Part One of King Henry the Sixth.

Conclusion

According to the Arden Shakespeare collection on this work edited by Edward Burns, p. 140, "very suspicious Elizabethan reports of his talents, following a medieval tradition, allege that he persuaded a dove to appear and speak to him by lodging corn in his ear." "Sceptical Elizabethan stories of his powers, reflecting a medieval legend, allege that he attracted a dove to appear to talk," it says about the Prophet Muhammad (may Allah bestow peace and blessings upon him).

"This is Damascus, be thou cursed Cain, to slaughter thy brother Abel, if thou wilt," says the third scene.

Cain killed his brother Abel at Damascus, according to Genesis 4.8.

"Was Mahomet inspired by a dove?" a character asks at the end of scene two in Part One of King Henry the Sixth. "Very suspicious Elizabethan reports of his skills, following a medieval tradition," he "attracted a dove to pretend to communicate to him by lodging corn in his ear," according to the Arden Shakespeare series on this book edited by Edward Burns, p. 140. "Skeptical Elizabethan claims about his powers, mimicking a medieval legend," it continues, referring to the Prophet Muhammad (may Allah grant peace and blessings upon him). The third scene begins, "This is Damascus, be thou cursed Cain, slay thy brother Abel if thou wilt."

The West chose to be fearful and ignorant of Islam, describing it as dangerous, odd, and hostile. The Ottoman Empire's power, force, and expansion stood in the way of the European Imperial Project, creating a strong public perception of English superiority. All approaches, including literary works that degraded Islamic characters, became fashionable in 16th century England. Christopher Marlowe's Tamburlaine the Great is a drama in the same style. "European culture gained strength and identity by positioning itself against the Orient as a kind of contrast to the Orient," Said writes.

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https://sheikhynotes.blogspot.com/2010/09/Islam-and-Shakespeare.html

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