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The portrayal of women in Shakespeare's plays
The Roles of Women in Shakespearean Dramas
The Roles of Women in Shakespearean Dramas
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How Shakespeare Presents Desdemona in Acts One through Four
Throughout the first four acts, Desdemona grows as a character. As
the play opens, the audience only hear of her and the suspense is
built. As an audience member, she does not appear to be of such
importance at the beginning, but as the play proceeds, we find out
more about her and her part in the twisting storyline. Desdemona’s
character certainly changes through all four acts, making the audience
continually question her and her true self.
When Act One, scene one first opens we are introduced with two
characters, Iago and Roderigo, arguing over a woman. They say that
she has left her house to ‘make the beast with two backs’ with a
character simply referred to as the moor. This simply means that they
are accusing Desdemona of leaving home without her fathers consent and
having sex secretly with Othello. Barbantio, Desdemona’s father,
first accuses Iago and Roderigo of being drunk, and refuses to believe
this, as he feels his daughter would not ever be able to betray him
like this. This shows the audience that Desdemona may be smothered as
a woman and not allowed to make her own decisions, which would explain
her leaving her house. When he checks her room and finds she is gone,
the audience can see that this is quite a rebellious woman. As a first
impression, this leaves the audience wanting to hear more about this
feisty and supposedly brave woman. She sounds like a woman who does
what she feels like, but also, since she left without her father’s
knowledge, she could be highly deceiving. We then find out that she
is married to Othello, which also adds to secret...
... middle of paper ...
...We also find out Emilia’s thoughts on men, and how
she perceives them. She feels that ‘it is their husband’s faults if
wives do fall’ which Desdemona simply replies by saying she will try
to amend herself.
All through the four acts, we see many sides of Desdemona. We start
with a strong, brave woman, who stands up for what she believes what
is right. Shakespeare deliberately introduces Desdemona with a
dramatic, bold scene to show the audience that this is a powerful
character. He also very cleverly shows the audience how her character
is destroyed by the lies and treacherous actions by Iago. By the end
of the four acts, she is weak, feeble and very vulnerable. Most of
all, she is confused. This is also a theme that runs throughout the
play, with many characters, to intertwine and join many plots
together.
In Act IV, scene ii and iii, Emilia shows her contemporary views about relationships to the audience and talks to Desdemona while doing so. She believes that many men and women are commonly guilty of cheating and betrayal of their partner. At this point, Othello’s worries of Desdemona’s unfaithfulness have wholly increased, and he begins to accuse her of cheating on him. Desdemona then hopes Othello sees to her honesty and truthfulness of the matter. “I hope my noble lord esteems me honest” (Act IV, scene II line 67). Othello counters her begging by beginning his sarcasm and request for her to never have been born. He says, “O, ay. As summer flies are in the shambles,that quicken even with blowing. O Thou weed, Who art so lovely fair and smell’st so sweet That the sense aches at thee, would thou hadst ne’er been born!”(Act IV scene II lines 68-70)
Actions and events that are happening around a character often contribute to the decisions that they make. Desdemona tries to talk to Othello about giving Cassio his lieutenant position back but she keeps asking " But shall ’t be shortly?" (Shakespeare 3.3.56) and badgering Othello. This causes Othello to become exasperated with her and need some time alone. Desdemona is increasing Othello's suspicion that she is cheating on him by talking to Cassio and only talking about Cassio. Othello is most certainly not going to give Cassio his position back because he think Cassio is untrustworthy and a cheater. In The Other Wes Moore, Tony's actions contributed to many of the other Wes Moore's actions and decisions. One of the first actions Tony had
The Role of the Opening Act of William Shakespeare's Othello The play Othello portrays the story of the protagonist Othello (The Moor) and his loved one- Desdemona- and his struggles to overcome a racist society in 17th century Venice. In the meantime Iago, one of Othello’s closest friends’ plots revenge on him, as Othello passed him over for an important position in the army and gave it to Cassio, an outsider from Florence.
Just like Cordelia in King Lear, there is a sense that forces in the play conspire against Desdemona, so that her death becomes an inevitable outcome of momentum of the play. Othello speaks ‘the plague [of] great ones’ (3.3.314) which seems to pertain to great Shakespearean protagonists:
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).
Desdemona is one of the protagonists of the play contributes to the play and also fleshes out certain aspects of characterisation mainly where Othello and Iago are concerned. Thus her relevance is highlighted consistently throughout Othello, since without her ppresence, Iago would not have succeeded in manipulating Othello, and Othello's drastic transformation would not have been made evident.
He transformed a straggling narrative of sordid crime into compact drama and high tragedy. The masterly first act is essentially Shakespeare’s invention. In this act, Othello, who has eloped with Desdemona, is accused of stealing her. Blinded by prejudice, Desdemona’s father cannot believe his daughter can love the Moor, a man of a different race. But Othello movingly defends his love and demonstrates the nobility of his character.
Based on the story Desdemona can consider as a tragic heroine because she has to hold up under a discipline without a mistakes, does not make a contention to demonstrate what reality is, her sacrifices from beginning to end of the story. Women should not remain silent against their men activities rather than that they should know what is happening to their men and reacting to the way they did. First trying to find own mistakes and if there is no mistake of own then don’t remain silence try to know what’s the real matter. If Desdemona wanted to figure it out what her mistakes are, and what’s the matter of her husband by which his behavior is changing then maybe she does not have to loss her life by blaming herself as responsible for her
Desdemona demonstrates weakness in her love for Othello and by taking his abuse. At the beginning of the play, Desdemona feels she must accompany Othello to Cyprus in war. This can be looked at as her being a strong woman, but she truly is not since the real reason she wants to go is because she can not be seperated from Othello. "If I be left behind A moth of peace and he go to the war, The rites for which I love him are bereft me,And I a heavy interim shall support by his dear absence. Let me go with him." (Act 1, scene 3, line 250) She feels that she loves him so much, she can not be alone or without him. This is a trait of the stereotypical damsel. When Othello hits her in public, she does not get angry with him but begins to cry. " 'Tis very much.Make her amends, she
In Greek, Desdemona means ‘the unfortunate’, perhaps reflecting an ideology that she is not meant to be liked, merely pitied for her misfortune as a tragic victim (commonly defined as someone who dies due to the faults of others). Throughout Othello, Desdemona is presented as pure and innocent – in regards to this, Auden’s comment is unusual as Desdemona is seldom criticised; indeed many critics are complementary, giving her titles such as ‘gentle Desdemona’.
This suggests to us that Desdemona is considering the idea. of marrying Othello. This thought is confirmed at the beginning of Act. one Scene Two, during a conversation between Othello and Iago, and Then further on in the scene when Iago informs Cassio that Othello ''hath boarded a land carack:'' We meet Othello on the night of their wedding, which they are spending in an inn called the Sagittary. On This same night, we learn that Othello and Desdemona's marriage is not.
At this point Desdemona seems to be an innocent woman without any knowledge, who does not even wish evil to those who do her meanness “if any such there be, heaven perdon [them]” (4.2.157). Emilia is the opposite of Desdemona, she has a good knowledge of how men are when they are jealous. He even assured that by the behavior of Othello something bad was behind all this, so he could called Desdemona a "whore".
Desdemona enters the play in Act II Scene III as a commanding presence, speaking before the Duke in defense of her new husband, Othello. Though she seems level-headed and confident, Desdemona surrounds herself in a blinding cloud of whimsical desire for adventure and ideologic...
Consequently Othello is furious, as seen in 4.2, Othello questions Emilia about the actions of Desdemona. Emilia swears to him that Desdemona has been true to him and has loved him since. Othello is full of rage and jealousy that nothing calms him down. “As Othello himself recognizes, he is not quick to anger but, once angered, his natural passion takes over.” (Foster, “Othello”). Othello orders Emilia to call upon Desdemona. Once Emilia bring Desdemona he orders her to go. As Desdemona looks at Othello she tell Othello; “Upon my knee, what doth your speech import? I understand a fury in your words, but not the words.” (4.2.33-35). Desdemona understands that Othello is furious but she doesn’t know why he is acting this way. They used to be
The society in which Othello takes place is a patriarchal one, where men had complete control over women. They were seen as possessions rather than being just as equally human and capable of duties performed by men. All women of the Elizabethan were to obey all men, fathers, brothers, husbands, etc. Which leads me to the most reliable and trustworthy character of Desdemona, whom goes through many trials just to satisfy her love. Shakespeare brings the thought of Desdemona into the play by Barbantio, her father, “It is too true an evil. Gone she is....Oh, she deceives me Past thought! …” (1.1.163)(1.1.168-169), whom has just found she has taken off with Othello and firstly suspects they have been hitched. Shakespeare gives reader the impression Desdemona is a devious imp full of disrespect towards her father. However, surpassing normal tradition of asking of her fathers’ permission to wed, Desdemona ran off and did marry the moor. This in a sense was her emancipation of her father’s possessiveness and oblivion of Othello’s dominance over her. Othello replies to Barbantio’s accusation, sedating or using black magic on his daughter, by saying, “My very noble and approved good masters, That I have ta’en away this old man’s daughter. It is most true.” (1.3.79-81), which brings me to the claim that Desdemona’s character in this tragedy, was only to become and to serve as Othello’s private possession rather than a typical beloved daughter or wife as in modern time. Shakespeare bases this tragedy on the foundation of Desdemona’s character by the symbol of the discrimination of women in the Shakespearean time era. Desdemona even for the first and only time within the play stands up and challenges her inferiority under her father’s aut...