Women as Victims in Othello
Othello is a play that only contains three female characters. Their roles vary and it would be an exaggeration to categorize them all as victims. However, there are similarities between the three women. [1]
The least involved woman in Othello is Bianca[2]. Her relationship with Cassio does not appear to be full of commitment.
"What keep a week away? Seven days and nights?"
It could be argued that Cassio used Bianca somewhat.[3] The manner in which he asks for a favor creates an impression that he is experienced at sweet-talking her.
"Sweet Bianca, take me this work out"
The way that Cassio initially addresses Bianca is rather sycophantic, especially as the task is so menial.
Therefore, the role of Bianca and her relationship with Cassio is poor. It appears that he uses her and shows little affection, only when he wants something.[4]
Emilia's role is more complex in Othello. Iago likes to dominate Emilia and in many respects uses her quite badly. However, she also proves that she can be strong and show control.[5]
Halfway through Act 3 Scene 3 Emilia and Iago have their first moment alone together. Iago doesn't use any romantic setting for his wife.
"now now what do you here alone?"
This lack of affection, straight to the point attitude continues throughout their conversation.
"A good wench, give it to me."
Throughout their conversation Iago's attitude towards Emilia has no respect. He doesn't talk to her like a husband but more like an employer.
Emilia may be typecast as a victim early in the play but she shows real strength at the closing stages of the play. Despite the dominance that Iago has over her she manages to undermine his position and bring about his eventual downfall. Her strength can be clearly seen in her lines
"She give it Cassio! No alas, I found it and I did give't my husband."
Her strength and determination to punish Iago leads to her death though in this respect she may be seen as a victim. In her only moment of strength she was struck down. Iago's language towards Emilia gives an impression that she may be a victim.
"Villainous whore!" and "good wench"
He rarely complements her.
Desdemona enjoys a much more loving relationship with her husband. Othello even says he is dependant on her.
Similar to what the article states, we have seen that risk is something that can go wrong, which we are unaware until a crisis happens. Many people tend to ignore the short tails of distribution saying they don't matter because there's a low possibility that it will occur. Think back to one such “perfect storm” that happened back in ...
Acting of movie is very basic for todays standards. The actions of the Miles Bennell aren’t believable or logical. At some points the women of the movie tend of over action simple scenes. The rest of the cast is monotone and have little emotion.It ok casting, but they could of done better. You find yourself laughing at serious point in the film due to the poor acting. This movie could be recut to become a comedy movie, just based off their facial expression.
The Shakespearean drama Othello renders less to the female gender than it does to the male gender. All the women characters are victims – unjustly so. Let’s talk about the obvious sexism throughout the play.
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
Descartes was a philosopher who seemed to discard anything which was not absolutely certain and focused on what was known. In Meditation two of Meditations on First Philosophy, Descartes is doubtful of everything, as he believes that if there is any doubt for something then it must not exist. With this in mind he begins to doubt his own existence but realizes that he is unable to doubt it. Descartes believes that there is a deceiver that is powerful which deceives him. Thus if something is deceiving him, Descartes believes that he must exist in order to be deceived. As result, in determining what he really is, Descartes comes to the conclusion that he is a thinking thing, and makes the point that being able to have thoughts or to be deceived, requires one to be thinking and if one is thinking then by default you must exist. In this paper I will talk about what Descartes knows he is, the powers he possesses, and the ways he can know.
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
Corwin highlights the corrupted foster care system through detailed progression of the central character, Olivia. She is one of the most brilliant students in the novel and views school as a positive distraction from the daily physical abuse she encounters at home. In a sense, intelligence saves her. She manages to disconnect her emotions and use her intellect to excel in and out of school. With a molested mother and lack of father figure, Olivia becomes a ward of the county. Children who enter foster care often have been exposed to condition...
Iago and Emilia’s relationship in The Tragedy of Othello: Moor of Venice is similar to a lion, on one end it can be fierce, while on another it can be sly and cunning, and in the end it is the cunning side that becomes the strongest when stalking prey.
The most important relationship displayed in the story is between Othello and Desdimona. Shakespeare uses many examples to illustrate how the bond between them shines in the beginning and then fades as the play progresses. At the opening of the play they are being married without Desdimona's father's consent. In this time period a father owned his daughter in a way, and held the right to choose her husband. When her father ( Brabantio) learns of the news he is furious.
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
While they have arduous intentions, none of them ever defend themselves. Desdemona is a passive victim who lets Othello abuse her, Emilia allows herself to be abused by Iago, and Bianca lets Cassio take advantage of 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.
The women in Othello are synonymous with Venetian societal standards. Only three women are characters in Othello: Desdemona, Emilia and Bianca but the roles these women play give the reader an idea of how women were portrayed, not only in Shakespeare's Othello but in society in general.
Bianca was the prostitute that loved Cassio. She was used by both Iago and Cassio in different ways. Iago for his plan, and Cassio for his own pleasure. Cassio was especially rude to Bianca since we would never marry her, but would like to sleep with her. Bianca, in a way, was seen as unimportant and was only used when convenient.
Many will agree that Rome was not a very independent culture. Instead, they found it easier and preferred to depend on Greece and a few other cultures and borrow their ideas and ways of doing things and adapt it to fit their lifestyles. Art and architecture, citizenship and government, education, and mythology are only a small portion of the many ways that Romans were influenced by the Ancient Greek culture.
The play Othello is presented as a male-dominated society where women are only recognized as property; objects to own and to bear children. Women in the Elizabethan society and in Shakespeare society were not seen as equal to men and were expected to be loyal to their husbands, be respectful, and to not go against their husbands judgements or actions. Shakespeare presents Desdemona, Emilia , and Bianca as women in the Elizabethan time where they were judged based on their class, mortality, and intelligence. Shakespeare makes his female characters act the way they would be expected to act in an Elizabethan society. The role of these women in Othello is crucial because they show how women were treated and how unhealthy their relationships between men really were in both Elizabethan and Shakespeare's society.