“In essence, William Shakespeare used Islam and Islamic figures as dramatic tools to explore ethicality, morality, spirituality, humanity, justice, prejudice, unrighteousness, and righteousness, often reflecting and challenging the polarized views of his time. William Shakespeare’s knowledge of Islam was the result of a direct engagement with The Glorious Quran. The genuine justification behind this analogy can be substantiated via the Islamic representations in his plays such as:

• Titus Andronicus: Features Aaron the Moor, a villain embodying early modern fears of the ‘infidel’ and ‘barbaric’ Muslim who is unethical, immoral, and unspiritual because he is regarded as being unrighteous in the Islamic jargon for not following the Traditions and Teachings (Sunnah) of Prophet Muhammad (Peace Be Upon Him).
• Othello: The most complex depiction; Othello, a ‘Moor’ is linked to Islam and presented as an outsider, with his inner turmoil framed by Christian-Muslim tensions, though he is a Christian convert.
• Henry VI: Contains one of William Shakespeare’s rare direct references to Prophet Muhammad (Peace Be Upon Him), often used to contrast with Christian figures like Joan of Arc.
• The Merchant of Venice: Portrays the Prince of Morocco and explores mercy as a Divine Attribute, a concept resonant with the Islamic Theology: Ar-Rahman and Ar-Rahim.”^[1]

Keywords: William Shakespeare, Islam, The Glorious Quran, Prophet Muhammad (Peace Be Upon Him).