An annotated syllabus created by Ruben Espinosa

I recognize that it isn’t always possible to offer a special topics course on Shakespeare and race, and as such, this syllabus offers a way to engage critical race studies within a Shakespeare Survey course. What I offer below are entry points to broaching conversations about race and racism within a course that isn’t necessarily devoted to Shakespeare and critical race studies.

Course description

This course is an introduction to Shakespeare’s plays and poetry. This semester, we will critically read, analyze, and interpret the works of Shakespeare to develop a greater understanding of his dramatic works and poetry. We will study plays from the genres of history, comedy, tragedy, and romance. In the process, we will examine the cultural forces in Shakespeare’s England, and scrutinize how his works register attitudes and apprehensions surrounding religion, race, gender, immigration, xenophobia, imperialism, and national identity. More importantly, we will consider how Shakespeare’s attention to these issues bears significance in our present moment, and we will explore how our own views of these issues influence the ongoing making of Shakespeare in our time.

Primary Readings

• Shakespeare’s Sonnets (Selections: Although my intent is not to be prescriptive, as I recognize people will be drawn to particular sonnets when teaching, these are the sonnets I typically assign – 1-5; 18-21; 55; 73; 106; 127; 129-131; 138; 152)
• As You Like It
• The Merchant of Venice
• Henry V
• Hamlet
• Othello
• The Tempest

Rationale for selections

While there is quite a bit from which to choose, I select these works to trace across them sustained attention to issues of race and racism. While I note in my course description that we will consider a host of issues, ALL of those issues can point back to structures of power and racism, and as such I search for that thread. As opposed to focusing the course on understood “race plays”—that is, plays that feature non-white characters—I try to show how whiteness, and structures of white supremacy, are taking shape in these works.

I begin with the sonnets because the first line of the first sonnet in the sequence is telling: “From fairest creatures we desire increase.” I let students explore what “fair’ means here, and after expected ideas about beauty and virtue, I draw on Kim F. Hall’s work to show students how fairness equates to whiteness. As such, we establish early on in the class that the literary work, something as simple as a sonnet, is advancing notions of white supremacy.

Establishing how the text identifies the value of any given person (and the devaluation of those who diverge from that standard) is key for me. In this way, my class can explore how notions of belonging depend on who is deemed valuable, and who gets to establish such worth. In the sonnets, the young, noble, white man is the epitome of beauty and is invaluable. The dark lady, not so much. The sonnets are a starting point for us to begin having these conversations. As we move into Shakespeare’s plays, then, we can see this paradigm at work more fully.

As You Like It commits itself to thinking about gendered hierarchies, tyranny, and immigration. The Merchant of Venice is deeply invested in considering insider/outsider status, and while it is clearly a play focused on antisemitism, it is also makes clear the role of racism through the character of Portia. Henry V is a play that expounds a sense of English nationalism, but it undermines this through the questionable actions of Henry and through the cultural confidence of Fluellen. In Hamlet, I find value in tracing how patriarchal structures of oppression dominate the play (from Hamlet’s Ghost to Polonius to Claudius). Beyond the play, though, I like to trace how Hamlet exists, to the present moment, as a play focused on the struggles of a privileged white man. When we take some lines out of the mouth of a white Hamlet and imagine them through the voices of people of color, Hamlet’s deep sense of isolation and unbelonging offer rich possibilities.

When I arrive at Othello, I like to play an excerpt of Ayanna Thompson’s interview, “All that Glisters is not Gold,” on NPR’s Code Switch where she discusses why staging Othello is so problematic. Up front, I want students to recognize the racist structures both within and beyond the play. This allows students to see how Shakespeare was engaging with racism, and how Shakespeare is used (still, to this day) to promote racist perspectives. I finally arrive at The Tempest, and here I can consider all the salient topics of discussion that I outline in my course description and demonstrate how Shakespeare’s work are in fact thinking about the awful realities of imperialism. That imperialism defines us today, but it does not have to define the way we understand and find value in Shakespeare.

Secondary readings and sources

For Shakespeare’s Sonnets

• Kim F. Hall, “These Bastard Signs of Fair: Literary Whiteness in Shakespeare’s Sonnets,” in Postcolonial Shakespeares (ed. Ania Loomba and Martin Orkin)
• James Baldwin, “Why I Stopped Hating Shakespeare”

For As You Like It

• Ruben Espinosa, “Chapter 6: The Dangers of Indifference,” in Shakespeare on the Shades of Racism. [Note: I don’t assign my own work, but I do draw on it in class discussion]
• Gloria Anzaldúa, Borderlands / La Frontera (Chapter 5 and/or Chapter 7)

The Merchant of Venice

• Qualities of Mercy Project, Texas A&M San Antonio video (on YouTube)
• Katherine Gillen, “Language, Race, and Shakespeare Appropriation on San Antonio’s South Side: A Qualities of Mercy Dispatch,” in The Sundial
• Kim F. Hall, “Guess Who’s Coming to Dinner: Colonization and Miscegenation in The Merchant of Venice”

For Henry V

• Scott Newstok, “‘Step aside, I’ll show thee a president’: George W as Henry V?”
• Ta-Nehisi Coates, “The First White President,” in The Atlantic

For Hamlet

• Richard Dyer, White (Introduction and Chapter 1)
• Peter Erickson, “Can We Talk About Race in Hamlet?”
• New York Public Theater video, #ToBeBlack (available on YouTube)

For Othello

• Ian Smith, “Othello’s Black Handkerchief”
• Ayanna Thompson, “All that Glisters is not Gold” NPR Code Switch interview
• Toni Morrison, Desdemona (Acts 1, 2, 8, and 9)
• Keith Hamilton Cobb, American Moor (pp. 14-22)

For The Tempest

• Indira Karemcheti, “Caliban in the Classroom”
• Ruben Espinosa, “Beyond The Tempest: Language, Legitimacy, and La Frontera” [Note: I don’t assign my own work, but I do draw on it in class discussion]

I realize that it might not be feasible to assign all of these readings, especially for an undergraduate class. Some of these readings (like Karemcheti) are short and digestible, while others are not as short. What I often do is offer particularly poignant excerpts from the secondary readings and allow students to discuss these in small groups before asking them to share their thoughts on these excerpts. Often, if I assign the full readings, many students are underprepared. When I have students read excerpts together in class, in real time, they engage more meaningfully with the ideas because we are all on the same playing field. Fortunately, the readings offer quite a bit in the way of provocative arguments. The idea is to use these sources as a starting point for class discussions.

Possible Assignments

Public Facing Project (in lieu of a traditional essay and often much, much cooler)

For this assignment, you will be asked to craft a public facing essay that uses any work of early modern literature as a vehicle to explore a contemporary social issue. Please take time to look at the short essays published in ACMRS’s online journal, The Sundial. These public facing works will give you a sense of what is possible and possibly inspire the approach you take to this assignment. Your essays should be 750-1000.  

iMovie Project

Students will collaborate to perform and film a rendition of a scene from any of the Shakespeare plays we cover during the semester. These films should not be more than five minutes in length, should employ at least some of Shakespeare’s original dialogue, and should find a way to speak to contemporary/regional social issues. Beyond these guidelines, you have absolute creative license for the production of these films. Students will submit a 1-page written “reflection” about the cultural significance of their production, and the groups will present their film near the end of the semester.