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Analysis of emilia in othello
Role of fate in shakespeare
Analysis of emilia in othello
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The Importance of Emilia in Shakespeare's Othello
In Othello the Moor, Shakespeare combines destiny with a fatal character flaw and that flaw is jealousy. Shakespeare's tragedy allows one character to hold the key to the entire web he has spun and that character is Emilia. Emilia is the lone character who garners the knowledge to all circumstances of the events surrounding the characters in Othello the Moor. Although other characters in the play are privy to certain details of the unfolding events, Emilia is the character that uses this knowledge to the benefit of the play. Emilia's character is minor yet necessary. Without her character the play would have no means of unraveling the confusion created by the author. Emilia, wife of Iago, should be questioned of her loyalty and commitment to both her husband and her dear friend, Desdemona.
The character of Emilia has only eight short parts in the play and of those parts only two are with the lead character of Othello. Her character only interacts with Iago and Desdemona. The first encounter between Othello and Emilia is in Act IV, Scene II. Emilia assures Othello of Desdemona's true love and faithful manner. Othello questioned Emilia "You have seen nothing, then?" "Nor ever heard, nor ever did suspect." (Shakespeare, Act IV, Scene II, page 1107) replied Emilia. Emilia is telling the truth. She knows for a fact that Desdemona has been faithful to her husband and that she loves him wholly. But in Shakespeare's style of character development; Emilia is playing coy to the fact that her husband has lead Othello to believe differently. Emilia is now the only character to have direct interaction with Othello, Desdemona and her husband and be knowledgeable of her hu...
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... got to be assumed as a fateful event. As Shakespeare said, ""It is not in the stars to hold our destiny but in ourselves."
Works Cited and Consulted
Bayley, John. Shakespeare and Tragedy. Boston: Routledge & Kegan Paul Ltd., 1981.
Bradley, A. C.. Shakespearean Tragedy. New York: Penguin, 1991.
Campbell, Lily B. Shakespeare’s Tragic Heroes. New York: Barnes and Noble, Inc., 1970.
Di Yanni, Robert. “Emilia's Character Revealed Through Dialogue.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Literature. N. p.: Random House, 1986.
Kermode, Frank. “Othello, the Moor of Venice.” The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston, MA: Houghton Mifflin Co., 1974.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
The presentation of moral issues in Othello focuses on Emilia’s courage to challenge the social and religious morality of their time in Act 4, Scene 3. For instance, Emilia’s Speech establishes cynicism towards men as Shakespeare’s lexical choice of ‘would not’ demonstrates that with the contraction displayed, Emilia is willing not to ‘marry.’ Therefore, her courage presents a moral issue in the play because challenging the social and religious morality of her time establishes that she disobeys the main principle that “Wives submit…to husbands and the Lord.” She knows that marriage is an obligation and her refusal demonstrates she has “Sense like the men....
During Barbara’s travels she makes very interesting and at the same time very true observations. One of the more interesting things she observes is the Christian Faith. Mrs. Enrenreich decides to make a visit to a “tent revival” because she refuses to spend her last Saturday night at the 6 in her room (66, Enrencreich). Her impression of Christians already is in poor taste because she is an atheist, but when she comes to the service she is even more judgmental. Barbara says, “Jesus makes his appearance here only as a corpse; the living man, the win-guzzling vagrant and precocious socialist, is never once mentioned, nor anything he ever had to say. Christ crucified rules, and it may be that the true business of modern Christianity is to crucify him again and again so that he can never get a word out of his mouth. I would like to stay around for the speaking of tongues, should it occur, but the mosquitoes, worked into a frenzy by all this talk of His blood, are launching a full-scale attack.” (69). The remark made about Christ can be taken very offensive to people of the Christian Faith. This happens to be one...
Emilia in Othello confronts gender roles when she exploits the method introduced by Christine de Pizan in The Book of the City of Ladies. Christine’s realization of women’s oppression in her journey with the Ladies allows her to view life with a new perspective. Likewise, Emilia demonstrates the same ideals from The Book of the City of Ladies with her opinionated mindset and deviation from the women’s social norms of the time. Furthermore, Emilia develops in a similar progression as Christine, especially in the deconstruction of the men’s manipulation. Even though they go against gender stereotypes, complete equality is one battle avoided by Christine and Emilia. In Shakespeare’s Othello, Emilia defies gender norms when she employs a speculative mindset introduced by the character Christine in The Book of the City of Ladies.
Voter ID laws in the United States have begun to create controversy since the beginning of its adaptations in the early 2000’s. Voter ID laws in the United States is a law that requires U.S. citizens to have a special form of identification in order to vote in an election. The idea with Voter ID laws is that the state must make sure that the laws do not pose any sort of burden on the voters. These laws have been proposed in order to stop voting fraud. However, the institution of Voter ID laws have made trouble in states, including Texas, regarding to the various amount of identification requirements needed.
She is the only one who is involved but not counted in Iago's scheme. Desdemona shall die, Cassio shall die, but Iago does not plan anything to prevent Emilia from speaking, because he does not anticipate Emilia will abandon her husband for Desdemona. Yet Emilia speaks, and speaks an extremely defenseless thus courageous speech. When Othello tries to stab Iago, he is disarmed twice, once even after everybody has realized what a villain Iago is (Othello 5.2 242&292). But nobody disarms Iago either when he threatens Emilia with his sword or when he stabs Emilia (Othello 4.2 228&242). She is armless but not powerless. The truth she speaks brings justice in, wins the audience's respect, and shows the potential power of a female
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
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).
Tuite, Clara. "Cloistered Closets: Enlightenment Pornography, The Confessional Sate, Homosexual Persecution anal The Monk." Romanticism On the Net 8 (November 1997): n. pag. Online. Internet. (4/5/98) http://users.ox.ac.uk/~scat0385/closet.html
Lee, Suevon. "Everything You've Ever Wanted to Know About Voter ID Laws." Propublica.org. Pro Publica Inc., 5 Nov. 2012. Web. 31 Dec. 2013.
In 1990, Simon & Garfunkel were inducted in the Rock and Roll Hall of Fame and on February 23, 2003 they were awarded the Grammy Lifetime Achievement Award for their game-change work in the musical industry over four and a half decades.
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Emilia, while lying next to her best friend on her deathbed, began to suppress her passive nature and attempts persecute the murderer. Nonetheless, the only woman who stood up for herself got killed in the end by her own husband. Othello and Iago’s wives were thought to be disloyal to their husband, while only one of them was correct in this accusation, Desdemona and Emilia were both murdered by the people they pledged their allegiance to. But, Emilia was the only woman who denounced the authority men had over women and compares the qualities of both men and women. She is fully aware of the gender
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