Abstract
This essay argues that Othello both reveals the work of genre in the formation of religious identities and enacts a debate about the uses of two competing ends of romance: to transform and to restore identity. As a Christian Moor, Othello is patterned after Ruggiero in Orlando Furioso , a romance in which religious conversion transforms a Moorish hero and thus allows him to be incorporated into Christendom. Iago, however, attempts to counteract this type of romance by using another tendency of the genre--to restore originary identity--in order to re-"turn" Othello to what is presumably his prior Muslim faith.
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