Criticism In The Play Othello Essay Example
Criticism In The Play Othello Essay Example

Criticism In The Play Othello Essay Example

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  • Published: August 1, 2017
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In the play Othello, there is a noticeable disparity between the male and female characters. While the strong and influential male characters dominate the narrative, the female characters, namely Desdemona, Emilia, and Bianca, are portrayed primarily in relation to men. In contrast, the male characters have well-defined professional roles within the story. This has led critics to suggest that the women in Othello are utilized as tools in Iago's plot to manipulate the men.

The controversial mixed-race marriage between Desdemona and Othello would have been noticeable to the audience, not only because of their relationship but also due to their equal standing at the beginning of the play. Othello demonstrates their mutual respect by asking the Duke to let Desdemona speak for herself, defying patriarchy. At the start of the play, Desdemona portrays a powerful woman by b

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oldly defying her father's expectations. However, some argue that she still does not assert herself fully, as she simply shifts her loyalty from father to husband, following her mother's example. In this sense, Desdemona's disobedience does not reveal her independence or power, but rather reflects the path she was raised to follow.

In their marital state, Desdemona serves as a dramatic device. She brings Othello, a man experienced in war, into an unfamiliar domestic situation. Othello's uncertainty as a husband allows his obsession with Desdemona to grow. She becomes his whole world, the only person he can rely on. Iago takes advantage of Othello's lack of experience in domestic life, making it easy for him to manipulate circumstances. Desdemona acts as a dramatic device to emphasize Othello's position. Her acceptance of him highlights his admirable qualities as a courter

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and husband. In choosing to be with Othello, Desdemona has forsaken numerous noble matches, her father, her country, and her friends. When Othello speaks of wooing Desdemona, he is depicted as an eloquent storyteller and lover who receives "a world of sighs" from her in return.

The acceptance and romance in Othello's relationship with Desdemona demonstrate his downfall to the audience. For instance, Desdemona realizes that 'men are not gods' and Othello describes her harshly as a 'fair devil,' contrasting his previous adoration of her. Their once close and trusting relationship is destroyed, marking Othello's demise. Additionally, Desdemona's kind nature and eagerness to help increase the credibility of Iago's plan and the plot. Iago manipulates Desdemona to incite jealousy in Othello, taking advantage of her open nature and willingness to assist Cassio. The shift in Othello's perception of her from 'my wife is fair, feeds well, loves company, is free of speech' to 'who thou hadst ne'er been born' is facilitated by Iago's exploitation of Desdemona's qualities. Desdemona represents purity and embodies the 'white ewe' metaphor mentioned by Iago earlier in the play. Her naivety, innocence, and refusal to commit adultery intensify the dramatic impact of the tragedy.

Despite being seen as a dramatic device to emphasize Othello's downfall, Desdemona is more than just that. Out of the three women in the play, she holds the highest status and exists as a character in her own right. In Act 2 Scene 1, she asserts her individuality by stating 'I am not merry but I do beguile the thing I am by seeming otherwise'. With this remark, she presents herself as a character of equal complexity and importance

as Iago, drawing similarities to the well-known quote 'I am not what I am'.

Desdemona challenges the Elizabethan stereotype of women in submissive roles when she engages in a battle of wit with Iago, stating, "O heavy ignorance, thou praise the worst best. But what praise couldst thou bestow on a deserving woman indeed?". This portrayal of a powerful woman was uncommon during that time period, which made Desdemona's authoritative demeanor stand out to the audience and establish her as a strong character in her own right. The relationship between Emilia and Iago is volatile and lacks mutual respect, a stark contrast to the loving nature of Othello and Desdemona as a couple. Iago derogatorily refers to Emilia as a "foolish wife" and the couple is constantly quarreling.

The interactions between characters in Othello can be interpreted in two ways: as a flirtatious argumentative style of speech or as genuine maliciousness. Regardless, their relationship serves to highlight the pure and intimate nature of Othello and Desdemona's marriage. Shakespeare employs this to underscore Othello's eventual breakdown and the tragic outcome, given that their relationship appeared so perfect. Emilia also serves as a contrast to Desdemona's innocence, highlighting the dramatic effect of Desdemona's eventual death. Emilia portrays men in a vulgar and animalistic manner, stating "they're all but stomachs, and we all but food: they eat us hungrily, and when they are full they belch us." This disparages Desdemona's delicate language when speaking of Othello's qualities. However, it could be argued that Emilia holds power as she convinces Desdemona to reconsider her views on men, stating "nay, we must think men are not gods." Emilia's speech towards her husband,

such as "ha?," could be seen as out of place within the context, suggesting that Shakespeare may have used her character to challenge the stereotype of submissive females.

Despite Emilia's portrayal of power and feminism, she ultimately submits to her husband's manipulation by withholding the truth about Desdemona's handkerchief. As Iago compels her to say, "I know not, madam," Emilia becomes a tool in furthering his scheme. Similarly, Bianca, a minor character in the play, is used for dramatic effect when she angrily tosses Desdemona's handkerchief at Cassio, labeling it a "minx token." This misinterpreted "proof" intensifies Othello's jealousy and pushes him to the brink. Furthermore, Bianca becomes an instrument in discrediting Cassio. Although Othello once held him in high regard as his second-in-command, the revelation of Cassio's secret relationship with Bianca tarnishes his reputation and renders him susceptible to manipulation by Othello. It could be argued that Bianca exerts some power in the dispute between her and Cassio regarding his affair with a mistress or "hobby-horse." However, ultimately, she is merely used as a dramatic device to propel the events of the play.

In conclusion, although women in the play are primarily used to enhance action and tragedy, their significance and power should not be underestimated. They serve as catalysts essential for the development of the plot, exerting a considerable amount of influence. It could be argued that the reputation and status of their male counterparts rely heavily on these women, despite being mostly portrayed in relation to them. Shakespeare employs women to intensify the dramatic effect of the plot, much like he does with male characters such as Roderigo, showcasing Iago's manipulative abilities. These female

characters possess their own individuality within the play and challenge societal expectations of submissive women during the Edwardian era. However, ultimately, they become dominated by their male counterparts – Desdemona is killed, Emilia realizes her husband's malicious actions, and Bianca must keep her relationship a secret.

Shakespeare may be suggesting that women, similar to these characters, are perpetually eclipsed by men despite their inherent strength.

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