The women of Othello show occasional glimmers of grit. These glimmers are few and far between, however, as Desdemona and Emilia are largely passive and subject to the whims of the male characters. Indeed, as Desdemona becomes more passive, Emilia becomes more assertive, almost as if the play cannot accommodate more than one rounded female character at a time.
As the play progresses, Desdemona transforms from an assertive woman to a passive victim. In the beginning of the play, Desdemona is independent and not afraid of the men in her life. After Othello tells the story of how he and Desdemona fell in love to the Venetian Senate, Desdemona asserts to Brabantio: “My noble father, I do perceive here a divided duty… I am hitherto your daughter. But here’s my husband” (I.iii.208-214). Desdemona has the bravery to stand up to her father to say that she is not only his daughter anymore, but someone
…show more content…
else’s wife too. Furthermore, Desdemona does not only choose to marry a man without her father’s approval, but also chooses to run away with him. Determined to go, Desdemona states, “By his dear absence. Let me go with him” (I.iii.294). While Desdemona is not afraid to speak her mind in Venice, she begins to demonstrate increasing passivity once in Cyprus. As Iago makes Othello more insane, convincing him that his wife is cheating on him, Desdemona becomes weaker, yet still devoted to her husband. After harsh accusations by Othello, Desdemona fervently denies being unfaithful in a discussion with Emilia and Iago. However, Desdemona remains loyal to her husband, stating, “his unkindness may defeat my life, But never taint my love” (IIII.ii.189-190). She becomes completely passive and gives up on her autonomy when she realizes that Othello still does not believe her and probably wants to kill her. Accepting the fact that she will be killed by Othello, Desdemona instructs Emilia: “Prithee, tonight lay on my bed my wedding sheets” (IIII.ii.121-122). Desdemona does not show any sorrow towards her death, stating, “A guiltless death I die” (V.ii.150) and does not even attempt to stop Othello. In the beginning of the play, Othello describes Desdemona as his “fair warrior” (II.i.197); however, these qualities are what ultimately lead to her downfall becoming a powerless victim. On the other hand, the transformation Emilia goes through, is the complete opposite. Though she initially demonstrates passivity and obedience to her husband, Emilia evolves into an independent minded, defiant female character, who refuses to remain malleable to the wills of others.
At the beginning of the play, Shakespeare introduces Emilia as a push over; a mere appendage to her husband, Iago, and his needs. Upon finding Othello’s handkerchief, she immediately seeks out to give it to Iago, though “[w]hat he will do with it/ Heaven knows,” all she wants is “[n]othing but to please his fantasy” (III.iii.341-343). Here, Emilia is simply a supplement to Iago and his schemes. Her actions are motivated not by her own interests, but rather by her wish to please her husband. In the language she uses alone, her actions become someone else's possession-- it is about what “he will do” and “his fantasy”-- rather than remaining hers to control. However, Emilia later begins to progress into an autonomous, free-thinking woman. The turning point in her character development is self-evident when, speaking with Desdemona, she exploits an iniquitous dynamic of gender
roles: “Why, we have galls, and though we have some grace,/ Yet have we some revenge. Let husbands know/ Their wives have sense like them... And have not we affections,/ Desires for sport, and frailty, as men have” (IV.iii.103-113)? Emilia points out the hypocrisy in differing perceptions of male and female actions. She takes on a role as a spokesperson for all women; her use of the word “we” represents and ignites empowerment not just in herself, but in those women around her. Revealing a double standard amongst her society is what enabled her to further progress into an individual, separate from the men in her life. Extending on this, near the end of the play, when Iago tells Emilia to be quiet and stop talking, she defies him, saying, “I will not charm my tongue. I am bound to speak” (V.ii.220). For her final appearance in the play, Emilia is at her strongest. She openly and publicly disobeys her husband's commands, which at the time is unheard of. But what is more important is Emilia’s manifestation of her journey from malleability to rigidity simply in the way she speaks. Her movement from “he” onto “we” and then finally to “I” is a subtextual device Shakespeare uses to emancipate Emilia from the archaism and unfairness that being a woman comes with. By the end, Emilia is in full possession of her words, and ultimately herself. In Othello, the two lead female characters go through two completely opposite transformations. The transformations that they undergo suggest that the play may not be able to accommodate more than one rounded female character at a time. As Emilia gains assertiveness, Desdemona loses it. Shakespeare was not completely free of misogynistic tendencies that were common in the culture of his generation.
Emilia displays to Desdemona a helping hand and says to leave Othello if she is so hurt by his “understandings”. “…Having the world for your labor, ‘tis a wrong in your own world, and you might quickly make it right” She is basically explaining to Desdemona to leave Othello for his ludicrous antics.
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,
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).
In the novel Othello, written by William Shakespeare, there are a variety of ways in which women are portrayed. There are strong willed women such as Emilia, who stands up to the men, especially to her husband. If he is wrong she would openly admit that he is incorrect. There are also women who are thought to be a possession as well as extremely submissive to their husbands such as Desdemona. She is the type of woman that will obey her husband to the day she dies. Desdemona believes that her husband is always right and he will never do anything that will lead her into the wrong direction. Many of the women in this time thought the same way. They are viewed as house workers, cooks, and teachers to the children. In addition to those qualities women obtain, having no authority in marriages is also added to the list. In this novel, there is judgment against women because they are “unequal” to men. They are not allowed to do the same as men for the reason that they do not possess the same qualities as men. Men were considered to be superior to women. Women were treated as their “slaves.” In contrast, today’s time women now have power. They have the right to vote, run for office, and even work outside their homes. Women now play the part as the male and female figure in the households. They are considered independent women, not relying on a male figure. Even if they are married now, they do not listen to everything that their husbands tell them to do. It states in the Bible that a male figure is the head of the households; however women today have strayed away from that view that they had back then. They want to be the dominate figure. Times have really changed from the past to the present. W...
Within Shakespeare’s Othello there is an analysis into the context of the female. Brabantio’s rhyming couplet “Look to her, Moor, If thou hast eyes to see/ She has deceived her father, and may thee,” demonstrates his domineering and patronising attitude, as the Elizabethan era was a patriarchal society and the role of the female was to be ‘obedient’ to their father or husband. Brabantio also endeavours into placing a seed of doubt in Othello’s mind as a result of his jealousy. Consequentially Brabantio objectifies Desdemona when he states, “Where has thou stow’d my daughter?” exemplifying how he deems her as a possession, which can be stolen like any other. Othello prolongs this objectification through asserting that he “won his daughter” portraying Desdemona as a prize to be won, and a possession to be owned and argued over by husband and father. Desdemona is depicted early on in the play as the “angel” wi...
In Othello, the titular character is a visible minority who holds a high position in the army but falls victim to manipulation by his seemingly trustworthy ensign and friend. While the theme of jealousy remains the main reason for the eventual death of both Emilia and Desdemona, the preservation of honour and reputation also fuel the characters’ actions toward the women. Therefore, the men in the play act cruelly and unjustly in order to defend their honour. While the conflicts between the Othello and Iago seem to be due to jealousy, the play suggests that the men are scared of the women and their power to destroy their honour and reputation.
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:
In Act I, Shakespeare establishes Othello’s public persona. Othello has served in the military since he was seven years old, and his life has been one of “feats of broils and battle” (1.3.89). As he explains to Brabantio, Desdemona’s father, Othello gained the favor of Desdemona through his heroic tales of the battlefield and of the dangers he overcame. Instead of appealing to Desdemona on a personal level, Othello intrigues her with his accounts of military courage. Desdemona learns of Othello’s public demeanor, but nothing of his private life. Prior to their marriage, Othello does not show an interest in Desdemona and therefore he does not attempt to woo her. Instead, Desdemona falls in love with Othello’s public identity. Othello has relied on his public reputation, and he has not had to face complicated personal relationships and emotions.
Is it not true that guilty dogs bark the loudest and, thus, is he projecting upon his wife that which he has previously committed with other women? Does this love of Desdemona feed into his hatred and jealousy of Othello? Back to Emilia and Iago's relationship, however, Iago indicated above that he suspects that both Othello and Cassio have (or will) seduce(d) his wife and that the jealousy thereof wracks his mind and causes him to want to get even. When Iago deceives Othello, and begins to plant distrust in his mind, he says a few things that may mirror his own inner truths. Iago states to
While she does have good intentions through out parts of the play and is a kind hearted woman, she never defends herself to her diabolical husband. Iago constantly makes hateful and degrading insults towards Emilia. "Come on, come on. You are pictures out of door, bells in your parlors, wild-cats in your kitchens, saints in your injuries, devils being offended, players in your housewifery, and housewives in your beds." (Act 2 scene 1 line 119) Not once does she ever defend herself. In fact, she is nothing but eager to please her husband to win his affection. "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? I should venture purgatory for 't" (Act 4, Scene 3, line 85) She is a representation of an abused woman who does not have enough self respect to defend herself. It is evident she makes herself a slave to Iago by consistently trying to make him happy despite his malevolent behaviour. Emilias lack of self confidence and passiveness proves that the women in Othello are powerless and
At first Emilia's character is the ideal submissive wife. Iago treats Emilia rather badly during the first scenes of the play. He refers to her as a nagging housewife and Emilia is submissively unresponsive to his harsh allegation...
Othello is the tragic hero of the play, whose tragic flaw is jealousy. In the beginning, Othello seems to display only superior qualities. He has a good reputation and people respect him as a good lieutenant and a man of noble character. Othello assumes the best about people and trusts everyone. Before the play begins, Othello elopes with Desdemona. Desdemona is the Senator’s daughter and some people think Othello married her to obtain political benefits. However, Othello demonstrates his honesty when he exposes that he is of noble heritages himself. Later, Othello shows his dignity and great sense of security in who he is when he discourages the men from fighting. He says, “Keep up your bright swords, for the dew will rust them. Good signor, you shall more command with years than with your weapons.” In this quote, he shows wisdom and dignity by telling the men that age and status generate more respect than force does. Another great quality of Othello is that his relationship with Desdemona is not purely sexual. He loves Desdemona for her personality and for everything she is. After marrying Desdemona, Othello has to...
Character Analysis of Othello “Othello” is a tragedy, and Othello is a tragic hero. Othello is a general in the service of Venice. He is good, courageous, brave and trustworthy. The sexy is the best. However, he has some weaknesses such as insecurity.
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...