You’ll have your nephews neigh to you.
You’ll have coursers for cousins and gennets for Germans.
There is little doubt that by Othello Shakespeare intended a Negro, or, in any case, someone whom the white denizens of New Orleans would call a nigger. “Moor” or “Blackamoor” was the common name for Negro, and the local detail of the play confirms the impression of a thick-lipped, black-bosomed, rather repulsive physical type. The psychology of Othello is, moreover, that of the modern Negro. His florid and sentimental talk, with its romantic yearning and its exaggerations, is very characteristic.
I spake of most disastrous chances,
Of moving accidents by flood and field,
Of hair-breadth ‘scapes i’ the imminent deadly breach,
Of being taken by the insolent foe
And sold to slavery, of my redemption thence
And portance in my travels’ history:
Wherein of antres vast and deserts idle,
Rough quarries, rocks and hills whose heads touch heaven,
It was my hint to speak,—such was the process;
And of the Cannibals that each other eat,
The Anthropophagi and men whose heads
Do grow beneath their shoulders.
And are not his last noble words, with his dramatic and romantic gesture, and his suicide, the noble African set upon a pedestal!
Fanny Kemble in her diary tells how John Quincy Adams thought “it served Desdemona right for marrying a ‘nigger,’” and she imagines the fine effect which some American actor in the rôle of Iago might obtain by substituting for “I hate the Moor” “I hate the nigger,” pronounced in proper Charleston or Savannah fashion. “Only think,” says Fanny Kemble, “what a very new order of interest the whole tragedy might receive acted from this standpoint and called ‘Amalgamation, or the Black Bridal.’”
The sympathy of a Southern audience would be almost exclusively with Iago and Roderigo and the father. But could they tolerate it without a lynching? No Negro company dare produce it south of the Mason-Dixon line.
How the Negroes would perform tragedy in the vein of tragedy I do not know. There is so much tragedy in their history, in their past, that they have sought only comic relief. I believe the characteristic Americanism of “Keep Smiling” or, as expressed in the song, “Smile, Smile, Smile,” comes from the Negro. The colored people as a whole seem to be serious only in church or at musical gatherings. Even the eloquent pastor has no easy task to gain the attention of his congregation. He must walk about and rage and flash, and with crashing reverberations explode the wrath of God like the voice of the Almighty in the storm. He must forget ordinary diction in forgetting himself, and chant in ecstasy and rapture, lifting up his whole soul to the Lord. If you talk to the Negro, he merely laughs; you must chant to him to be taken seriously. In this possibly lies the vein for Negro dramatic tragedy and prophetic poetry. Perhaps, however, the emotional appeal of such will be too strong for Whites.
It is a great ordeal for a sensitive white person to take part in a Negro revival or camp meeting. The emotional strain is tremendous. Though it is difficult to move the Negro, once he is moved he can be rapidly brought to a frenzy which surely has little enough to do with the Christian religion. But even when he is not greatly moved it is somewhat heart-searching for a white person present.
One day I went in at a chapel door. The building was full of Negroes; every seat seemed taken. Perched high above the platform was a black woman, all in black, with a large jet cross on her broad bosom. She was reading from the First Book of Samuel in a great oracular voice which never rose nor fell, but was like a pronouncement of eternal law. I was taken right up to the front and given a seat under her throne. I knew at once that there was likely to be an emotional storm in the audience. It was throbbing on the heartstrings even as I listened to the reading, and I wondered how I should combat it. After the Scripture the Lord’s Prayer was said by a portentous Negro who had the frame of an African warrior. When he went down on his knees he shook the beams of wood and the seats. He prayed angrily, and clapped as he prayed, and interjected remarks.
Thy will be done! Yes, Lord, that’s it, that’s what we want, certainly.