Virtuosity in Othello

The character Desdemona in William Shakespeare’s play Othello holds on to her dignified behavior until the very end, when her life is taken by her jealous husband, is indicative not only of her chaste mind, but also of her virtuous fortitude. Women of that time were largely seen mostly one of two extremes – either virtuous or licentious. Desdemona’s strength as a virtuous woman are clearly illustrated in two pivotal scenes in Shakespeare’s play: in her poise when confronted with her husband’s collapse of his gentlemanly facade; and in the dignified way she faces her own demise head-on, feeble on affirmations, yet overflowing with grace.

In Act 4, Scene 2, Desdemona proves herself as a lady in her discussion with the evil Iago, who, unbeknownst to her, is the cause of her chagrin. Although she bewails that Othello has called her a whore, she herself does not stoop to insults. Proudly, she declares, “Unkindness may do much” and, in a moment of disturbing foreshadowing, states “And his unkindness may defeat my life” (IV.ii. 164-65). Though virtuous to a fault, she remains dignified and affirms, “I cannot even say ‘whore.’ / It does abhor me now I speak the word; / To do the act that might the addition earn / Not the world’s mass of vanity could make me” (166-69).

During the tragic conclusion of the play, in Act 5 scene 2, Othello suffocates his adored Desdemona in the erroneous belief of her infidelity. She nevertheless departs with dignity. She does not wail but instead she merely states: “O, falsely, falsely murdered!” (130). One is left to wonder if she is referring to herself or to Cassio; regardless, these words are simply matter-of-fact and are not the emotion-driven cries one would normally expect from a person facing her own execution. Through her dying breath, Desdemona states clearly, “A guiltless death I die” (136). Her mistress Emilia, obviously overcome with emotion, pleads to Desdemona to name the killer, crying, “Help! Help, ho! Help! O lady, speak again!” (134) and “O, who hath done this deed?” (137).

With a quiet composure on her deathbed, Desdemona cryptically tells Emilia, “Nobody—I myself. Farewell” (138). Was she a self-loving character who had the ability to love others unconditionally? Or was she a fool who accepted her worldly fate in the belief that, by doing so, she was being righteous? Othello appears to be more of a weak character to succumb to misguided vanity and jealousy than Desdemona in meeting her own end with dignity.