Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Representation of women in othello
The role of women in Othello
Characterization of women on othello
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Representation of women in othello
Both Desdemona and Emilia are vital to the play, influencing the tragic end, yet there is a clear difference in who is more virtuous. The two most important women in Othello, both face their downfall, and are sufferers of public opinion. Emilia’s reputation destroyed when there is speculation about her having an affair with Othello. In Iago’s soliloquy, he reveals his plans and motives to ruin Othello saying, “… I hate the Moor, / And it is thought abroad that ‘twixt my sheets / He’s done my office…” (Shakespeare 1.3.377-379). In Iago’s eyes, the image of his wife has been destroyed, losing trust and faith in her; the people of Venice now view Emilia differently with her ruined reputation. In the same way, Desdemona faces disapproval from …show more content…
Desdemona proves her honesty and loyalty, showing her love toward her husband. When Othello accuses Desdemona of cheating, she affirms, “… I never did / Offend you in my life, never loved Cassio / But with such general warranty of heaven / As I might love. I never gave him token.” (5.2. ??). Alternatively, when she is killed by Othello and Emilia asks who is to blame, Desdemona says, “Nobody, I myself. Farewell / Commend me to my kind lord. O, farewell” (5.2.??). Proving her virtuous personality, Desdemona is veracious, stating she is not cheating, reassuring and pleasing her husband; she protects the reputation of Othello, defending him even after he has murdered her. She risks her own life for her husband’s, as he means the world to her. Even though it may not be morally right, Emilia shows her loyalty toward Iago through her submissiveness. Following his wishes, Emilia pleases Iago saying, “I am glad I have found this napkin, / This was her first remembrance from the Moor. / My wayward husband hath a hundred times / Wooded me to steal it, but she so loves the token … Heaven knows, not I. / I nothing but to please [Iago’s] fantasy.” (3.3 ??). Emilia reinforces her loyalty, doing as Iago told her, and steals the handkerchief, yet she has made a dishonest act toward her friend. Showing several similarities, the women also differ in …show more content…
Desdemona is very proper, speaking with purpose and poise, influenced by her nobility. When speaking with Othello she says, “Why that’s with watching, ‘twill away again. / Let me but bind it hard, within this hour / It will be well.” (3.3. ??). Speaking with figurative language, it is evident that Desdemona speaks from the heart, showing utmost respect to her husband, her high status shows through her . Unlike Desdemona, Emilia speaks with common language, mostly influenced by her lower class, working as Desdemona’s maid. With Desdemona she says, “To eat us hungerly, and when they are full, / They belch us…” (3.4. ??). Emilia speaks in a tone that mirrors Iago, speaking in a manner that would not be accepted around people superior to her. It is evident that Emilia does not have as broad a vocabulary as Desdemona, making her appear less intelligent, with little experience. CONCLUDING
...ng Desdemona has been unfaithful, ‘Trifles light as air Are to the jealous confirmations strong As proofs of holy writ’. However, his manipulation can also be seen with Emilia, in particular her finding of the handkerchief, ‘my wayward husband hath a hundred times Woo’d me to steal it’. The fact that Emilia gives Iago the handkerchief, despite her initial intention which is to have it copied and to return the original to Desdemona and despite his crude and derogatory remark, ‘it is a common thing’, reveals her desperation to please Iago and to satisfy his need for instant gratification. This contrasts with her outspoken, headstrong nature when Iago is not present and shows that women of this time period were dominated by men in all ways, including the suppression of their natural personalities.
As Desdemona constantly denies his accusations, Othello becomes very angry. He asks for her forgiveness (jokingly) and says “I took you for that cunning whore of Venice” (Act IV, scene ii, line 93). Desdemona is left mad by Othello’s ridicule and listens to Emilia’s contrasting attitude.
Though her world was fall apart with Iago creating false images of an affair between her and Cassio to Othello, Desdemona strangely remains kind, innocent, and willing to grant grace. When Cassio approaches her for help, she quickly agrees to help her old friend. While she discusses relationships with Emilia, she rejects all thoughts of infidelity. She had every reason to fight Othello when Othello carries out her murder, yet she resist only a little, She responses, “The Lord have mercy on me…[and] mercy on you too” to Othello’s “Thou diest” (Othello 5.2.50; 71-74). When she is briefly revived and quested by Emilia as to who her murderer is, Desdemona only replies, “I myself” (Othello 5.2.152).
Emilia is not just in the play to be a simply friend. She is there to tell everyone the horrible acts that have happened. Once, Emilia realizes her mistress has died she starts asking questions which helps her put two and two together. Emilia finds out that Othello thinks Desdemona cheated on her something that Desdemona would never do. Emilia then asks Othello, why? The main reason is the handkerchief. Othello gave Desdemona handkerchief that represents their love and its precious. Because Othello finds out Cassio had it he thinks an affair was going on. Then is when, Emilia reveals that she gave the handkerchief to Iago because she found it. Quickly after that it’s revealed that Iago (her husband) is doing evil acts. Emilia “...That handkerchief thou speak’st of I found by fortune and did give my husband. For often, with a solemn earnestness—More than indeed belonged to such a trifle—He begged of me to steal it.” With that said, Emilia was much more than a
Emilia is a realistic woman. She does not always do what is right, but does things to make life easier for herself. When Emilia steals Desdemona’s handkerchief she says,
Emilia has a fierce sense of loyalty. After Desdemona’s death she catches wind of Iago’s malicious scheme, and swears that, “I’ll make [Iago’s scheme] known,/ Though I lost twenty lives” (V.ii.87). Emilia had been a close friend of Desdemona’s throughout the play, and her death had a large impact on Emilia, who thought nothing but kindness and virtue of her late friend. Even when Othello tries convincing Emilia that “[Desdemona] turn’d to folly, and she was a whore” (V.ii.85), Emilia stays adamant on the fact that Desdemona would never cheat. Up until the point that Iago murders her, Emilia fights for the truth and defends her friend with a sense of loyalty unfathomable
First, in order to defend Desdemona's chastity, Emilia challenges the societal norm of silence. Recall the incident when Othello calls Desdemona a "whore" for cheating. In response, Emilia protests loudly against Othello and attempts to disprove his belief that Desdemona is not chaste: "A halter pardon him [Othello]! And hell gnaw his bones! / Why should he call her [Desdemona] whore? (4.2. 143,144). Instead of Emilia conforming to the attribute of Renaissance women as silent, she condemns Othello for his false accusations against her mistress, Desdemona. Later in the play, after finding Desdemona killed, Emilia challenges silence again: "As ignorant as dirt! Thou hast done a deed-... / The Moor hath killed my mistress!" (5.2. 171,174). Although Othello tells Emilia that it would be "best" for her to remain silent, she ignores his request and ridicules him for killing "sweet" Desdemona (5.2. 169).
It is apparent that Othello idolizes Desdemona, through the language he uses in describing her as well as how he treats her during their interactions. While most female characters in the play are oppressed and demeaned by their male partners, Othello’s respect for Desdemona is a testament of his feeling inadequate and strive to entice her. Although he has an alterior motive of evading a conviction of witchcraft to win Desdemona’s heart, he confesses to many noblemen including Barbantio, Desdemona’s father, that Desdemona does not love him, just his war stories. Incidentally, his war accomplishments were the only way a man of his background would be able to be so close to a prestigious woman such as Desdemona in a time plagued with so much racism. In the second scene of Act V, Othello has been pushed well beyond his breaking...
Her confession then confirms that Desdemona was faithful and did not deserve to die and as a result she shows one that love can be foolish and naïve. Her love and loyalty to Iago causes her to deceive her friend and this ends with both women being killed because the love they possessed for too foolish men. Othello is responsible for murdering Desdemona; Iago is
In fact, Desdemona holds herself in such high regard that she almost seems incapable of believing that anyone else may not. Luckily for her, Othello similarly holds her in high regard, at least until Iago begins to manipulate him. Even before Othello, Desdemona’s own father, Brabantio, thought highly of her. When she elopes with Othello, he never believes that she ran away from home willingly. He believes that Othello had enchanted her until she herself says otherwise. Upon this realization, Brabantio, warns Othello against Desdemona, telling him:
...her murdered mistress, resuscitates morality in this play. Emilia refutes the untrue notions which Othello says motivated him to kill; she counters Iago’s lies (“She give it Cassio? No, alas, I found it, / And I did give’t my husband.”) and lays the guilt for Desdemona’s murder on his shoulders. And she sacrifices her very life for the truth; she dies a martyr, stabbed by evil Iago. Othello also is a martyr in a sense, paying in full for the crime that he committed.
I nothing but to please his fantasy" (Act 3 scene 3 Line 343) She betrays her friendship with by stealing her handkerchief and gives it to Iago hoping to satisfy him. This utterly fails, leaving Emilia with the desire to continue to try to please him. Who would not make her husband a cuckold to make him a monarch?
Iago controls Emilia and treats her as less when she does not act as a submissive wife. Therefore, Emilia follows to keep Iago satisfy. Further, Iago tells Emilia to steal the handkerchief; which she follows without knowing his intentions, to then be insulted by Iago calling her a “foolish wife” (3.3.313), and demanding her, “Go, leave me” (3.3.330). Apparently, Iago makes Emilia lesser, and she accepts her role as a submissive wife. Moreover, although Othello proclaims loving Desdemona, he perceives her as inferior as a result of jealousy. As in Act 5, Scene 2 where Othello says to Desdemona, “Down, strumpet!” (89), suggesting that he puts her in an inferior position to kill her reflecting his true perception of Desdemona. And likewise Emilia, Desdemona accepts the role of an obedient wife by using her last breath to take the fault off Othello
Throughout the play, the sweet and old-fashioned Desdemona shows to be a satisfying wife and a great friend, and she also denotes unquestionable ignorance to her surroundings. On the other hand, the open minded and slightly cynical Emilia supplies a huge contrast to her mistresses’ persona; a feminist way ahead of her time. Despite coming from different social backgrounds and having different personalities, both women find the same faith by dying at the hands of their own husbands. But still, even when they do share a handful of similarities, it is their perception of life that makes them react in different ways. However, Desdemona is the one that is least aware of what is happening due to her undoubtedly naiveness.
Even on her death bed, Desdemona’s character of an inanimate object belonging to Othello is carried on. It is lead on by Emilia’s question of “who hath done this deed” (5.2.137) referring to Desdemona’s death and her reply, “Nobody. I myself. Farewell. Commend me to my kind lord. Oh, farewell!”(5.2.138-139), overall putting the responsibility of her death upon herself. Leaving the readers impression of Desdemona as one filled with sympathy and rage against her unwillingness to fight her independence as well as against the men of this time period for not realizing the importance of such a woman.