She states, "I nothing but to please his fantasy," and she does not speculate that her "wayward husband" might have any malicious intent with one of Desdemonda's most precious items. Emila's unfailing trust in her husband is frustrating in light of Iago's deceit, and makes her seem even more remarkable of a character. Even when Desdemonda asks "Where should I lose that handkerchief, Emilia?" Emilia does not mention how badly Iago wanted his hands on the item. In the closest thing to a lie that Emilia tells, she replies, "I know not, madam," (III, iv). She encourages Desdemonda to do the same, but it turns out Desdemonda is the more traditional, submissive of the two. While Desdemonda denies that women also have trouble with monogamy, Emilia admits, "I might do't as well i' the dark," (IV, iii). She also goes so far as to say, "who would not make her husband a cuckold to make him a monarch? I should venture purgatory for't." (IV, iii). Essentially, Emilia is saying that adultery committed by a man is socially acceptable whereas for a woman it is not. Emilia also states, "I do think it is their husbands' faults
Ultimately, Othello's jealous rage startles Emilia and helps her grow as a character. In one of her boldest moments in the play, Emilia states, "They are all but stomachs, and we all but food; To eat us hungrily, and when they are full, they belch us. Look you, Cassio and my husband!" (III, iv). However, she quiets down as soon as the men enter the room. Her wisdom regarding jealousy emerges more in that scene as Emilia counsels Desdemonda. She declares, "They are not ever jealous for the cause, but jealous for they are jealous: 'tis a monster begot upon itself, born on itself," (III, iv). This reveals Emilia's enormous wisdom in human affairs.
Emilia is not only wise but also progressive. She begins to develop a keener sense of feminist values as the play progresses. In Act IV, scene two Emilia begins to bemoan the maltreatment of women. She decries Othello's calling Desdemonda a whore. Act IV, scene three is particularly revealing of Emilia's progressive attitudes towards gender relations. She is speaking with Desdemonda about Othello's jealousy and about marital infidelity. The conversation begins when the two are talking about Lodovico. Emilia tells Desdemonda, "I know a lady in Venice would have walked barefoot to Palestine for a touch of his nether lip," (IV, iii). The comment is risque and shows how Emilia is in touch with her own ...
If wives do fall," (IV, iii). Here, Emilia shows herself to be a staunch feminist who does not ascribe to traditional gender roles and norms.
Emilia's character carries the theme of misogyny in Shakespeare's Othello. Through Emilia, Shakespeare makes important social commentary on gender roles and norms. Emilia's increasingly outspoken comments about female sexuality, female rights, and relationships with men show how misogyny is one of the primary motives for Iago's murderous behavior. Emilia's loyalty to her friend -- and even to her husband before she realized who he was -- also shows how strong and confident her character is. She is also committed to the truth as she states clearly, "I must needs report the truth," (V, ii). Emilia's feminist side comes out in the final scene of the play when she confronts Othello boldly: "Thou dost belie her, and thou art a devil." Finally, Emilia realizes what a villain her husband is and she cries, "May his pernicious soul rot half a grain a day! he lies to the heart," (V, ii). Her death only makes Emilia a martyr, one who stood up for the truth, for friendship, and for women's liberation.
Shakespeare, William. Othello. Retrieved online at http://shakespeare.mit.edu/othello/full.html
She encourages Desdemonda to do the same, but it turns out Desdemonda is the more traditional, submissive of the two. While Desdemonda denies that women also have trouble with monogamy, Emilia admits, "I might do't as well i' the dark," (IV, iii). She also goes so far as to say, "who would not make her husband a cuckold to make him a monarch? I should venture purgatory for't." (IV, iii). Essentially, Emilia is saying that adultery committed by a man is socially acceptable whereas for a woman it is not. Emilia also states, "I do think it is their husbands' faults
Yet despite the fact that the play's title is nothing but his name, Othello is arguably not really the central figure of the story. Iago is far more instrumental in moving the plot forward; it is his (not fully explained) hatred of Othello that the play is concerned with, and though Othello is obviously necessary as the object of Iago's hatred and jealousy, he takes a largely passive role in
Moreover, when Desdemona's handkerchief goes missing, and Othello approaches her about it, clearly thinking that she has given it to Cassio, Desdemona does not suspect that Emilia has taken the handkerchief from her. Unfortunately for Desdemona, her trusting nature ends up being her fatal flaw. Othello becomes increasingly cruel to Desdemona throughout the course of the play. Although the audience is not aware of their entire romantic history, it appears
They will go to far to hire a mercenary like Iago to pursue their goal for them. There are Othellos today as there was a shining one in Shakespeare's fiction or time. Military heroes like him have secret vulnerabilities, which reveal themselves in unguarded or trying moments. As a self-claimed victim of a foreign culture, Othello's cry of discrimination resounds in contemporary society despite his accomplishments. Contentment in life is
Simultaneously, he forces a man long upheld as honest in the highest Venetian circles into scheming and manipulations; these are roles which Iago takes on too readily, suggesting a certain familiarity, but it must be preserved that no earlier instance is ever presented to suggest that the notables of Venice were in any way wrong to uphold Iago as honest and true. In fact, those same notables are those
Humanities 202 FINAL EXAM Emilia: the wife of Iago. She provides the handkerchief for her husband, unwittingly facilitating Iago's orchestrated revenge upon Othello. However, she sympathizes with Desdemona, regarding all men as savages. She represents the ugly side of Iago's view of women, as there are hints Iago has abused her and he openly treats her cruelly when she irritates him -- eventually he kills her when she reveals his scheme. Roderigo:
Othello Of the alleged chief tragedies penned by Shakespeare, Othello has led to a certain degree of embarrassment. This 'domestic tragedy' lacks the dynastic and political consequences that characterize Macbeth, Hamlet, and Lear. The protagonist, Othello, behaves like a blockhead. Readers are led into doubting his claims to greatness right from the start. The Bard of Avon is famous for his interest in identity issues. Antagonists may cruelly impose themselves on