The bustling corridors of the Salon International de l’Édition et du Livre (SIEL) in Casablanca are typically defined by the scent of fresh ink and the hum of multilingual negotiations. However, a recent panel discussion shifted the focus from the business of publishing to the complexities of literary heritage, tackling a question that bridges the gap between the banks of the Thames and the shores of the Atlantic: What is the true nature of William Shakespeare’s relationship with Morocco?
The debate, titled “Les dimensions historiques et littéraires des relations de Shakespeare avec le Maroc,” sought to dismantle the simplistic view of the Bard as a purely English phenomenon. Instead, scholars and critics gathered to examine how the geopolitical realities of the Elizabethan era filtered into Shakespeare’s plays, creating a version of Morocco that was simultaneously a place of mystery, wealth, and profound misunderstanding.
For a culture critic, this intersection is where the real story lies. It is not merely about the presence of a Moroccan character in a 16th-century script, but about how those early literary depictions continue to shape the global imagination of North Africa. By dissecting these relations, the participants at SIEL highlighted a tension that remains relevant today: the struggle between historical fact and the “Orientalist” lens through which the West has long viewed the Maghreb.
Beyond the Caskets: The Prince of Morocco
Central to the discussion was the Prince of Morocco from The Merchant of Venice. For centuries, the character has been viewed primarily as a plot device—the first suitor to attempt the “casket test” to win Portia’s hand. However, the panel argued that the Prince represents a sophisticated intersection of Elizabethan curiosity and prejudice.
The Prince of Morocco is depicted as a man of immense pride and nobility, yet his dialogue is riddled with the stereotypes of his time. He is defined by his “complexion” and his origins, serving as a foil to the European suitors. The scholars at SIEL noted that while Shakespeare grants the Prince a certain dignity and poetic eloquence, he ultimately uses him to reinforce a boundary between the “civilized” European and the “exotic” Other.
This literary construction did not happen in a vacuum. During the late 16th century, England was expanding its maritime horizons. The Saadi dynasty in Morocco was a recognized power, and English traders and diplomats were increasingly aware of the region’s strategic importance. The “Morocco” in Shakespeare’s plays is therefore a composite—part historical reality, part travelogue, and part theatrical fantasy.
The Elizabethan Geopolitical Lens
To understand Shakespeare’s Morocco, one must understand the world of the 1590s. The panel explored how the English crown viewed the Maghreb not just as a trading partner, but as a complex political entity. The Saadi sultans were navigating their own precarious relationships with Spain and the Ottoman Empire, and England often looked toward Morocco as a potential ally against Spanish hegemony in the Mediterranean.
This political backdrop informed the “literary dimensions” debated at SIEL. The scholars suggested that Shakespeare’s references to Morocco reflect a period of transition where the “East” was moving from a mythical land of fables to a tangible geopolitical reality. The Prince of Morocco, is not just a character; he is a symptom of England’s burgeoning imperial consciousness.
The discussion also touched upon the broader “Mediterranean” identity of Shakespeare’s work. By placing characters from Morocco, Venice, and Belmont in the same narrative orbit, Shakespeare created a proto-globalized world. Yet, the power dynamics within that world remained strictly hierarchical, a point that the SIEL participants emphasized as a critical area for modern re-interpretation.
Comparative Perspectives on the ‘Outsider’
The panel drew a compelling parallel between the Prince of Morocco and Othello. While Othello is the protagonist of his own tragedy, his status as a “Moor” renders him a perpetual outsider in Venice. Both characters navigate a society that admires their skills—Othello’s generalship and the Prince’s wealth—but rejects their fundamental identity.
- The Prince of Morocco: Represents the external, exoticized power of a sovereign state.
- Othello: Represents the internal, assimilated outsider who is eventually betrayed by the society he serves.
- The Literary Function: Both characters serve to highlight the fragility of European identity when confronted with the “Other.”
Decolonizing the Bard in Casablanca
The significance of hosting this debate at SIEL cannot be overstated. Bringing the conversation to Casablanca transforms the act of literary criticism into an act of cultural reclamation. By analyzing Shakespeare from a Moroccan perspective, the scholars are effectively “decolonizing” the text, challenging the notion that the Western interpretation of these characters is the definitive one.
One of the key takeaways from the session was the call for more comparative studies between Early Modern English drama and the contemporary Moroccan literature of the same era. The goal is to move away from a one-sided conversation—where the world simply reads Shakespeare—toward a dialogue where Shakespeare is read through the lens of the cultures he described.
| Dimension | Elizabethan Perspective | Modern Critical Perspective |
|---|---|---|
| Cultural Identity | Exoticism and “The Other” | Identity construction and Agency |
| Geopolitics | Trade and anti-Spanish alliances | Early imperialist narratives |
| Literary Role | Plot device/Foil | Symbol of cross-cultural tension |
The debate concluded with a reflection on the universality of Shakespeare. The paradox, the panelists argued, is that while Shakespeare’s plays are global, the way they were written often reinforced local biases. The task for modern audiences, especially in the Global South, is to appreciate the artistry while remaining critical of the prejudices embedded in the ink.
As SIEL continues to expand its intellectual footprint, this debate marks a shift toward more nuanced, intersectional programming. The next phase of this academic inquiry is expected to involve a series of collaborative workshops between Moroccan universities and English literary societies, focusing on the translation and adaptation of these themes for contemporary theater.
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