Gender and Race in Othello
In many of his works, William Shakespeare explores ideas of gender differences and racial tensions. Othello, a play whose characters are judged again and again based on appearances and outward characteristics, is one such work. The protagonist's different ethnic background provides a platform for probing ideas of racial conflict. Similarly, the presence of well-developed yet opposing female characters adds a dimension of gender conflict and feminist views. These seemingly separate themes of Othello-sexual difference and racial conflict-are closely connected because of similar ties of prejudgment and stereotype. The play's treatment of sexual difference and gender roles strengthens Othello's racist tones and complicates ethnic tensions.
Women are an integral part of Othello. The chastity of a woman is highly valued, and Desdemona's perceived infidelity helps drive the action of the play, ultimately leading to the deaths of many characters, including herself and her husband Othello. Iago's hatred of women is evident throughout the play and could be part of his motivation to lead Othello to such jealousy. Desdemona and Emilia, her waiting lady, provide the central conflict for feminist and gender ideas. Women in Othello are portrayed with complexity and an obvious tension between feminist and anti-feminist ideals.
Desdemona, Othello's wife and Brabantio's daughter, is portrayed as the ideal woman. She is beautiful, chaste, and virtuous. Cassio describes her as "divine" (2.1.74) and tells Iago that "she is indeed perfection" (2.3.25). When her father questions her about her love for Othello, she gives the acceptable answer and professes loyalty to both Brabantio and Othello, claiming that the Moor is now her lord (1.3.183-191). Desdemona is eloquent and independent. She asserts herself and boldly professes her love for Othello to her father and the duke. She is honest in her love for her husband, wishing that "our loves and comforts should increase even as our days do grow" (2.1.193-194). Desdemona does not profess any feminist ideals or notions about love or relationships. She claims she would never cheat on her husband, not even "for the whole world" (4.3.82). She also appears to be submissive and passive in her marriage. She even identifies her own "simpleness" (1.3.249). On many occasions, Desdemona obeys her husband unfalteringly and calls herself obedient (3.3.97). Even after Othello hits her, she does is bidding and leaves because she "will not stay to offend" him (4.1.250). Later after she has been abused, she asks Iago, "What shall I do to win my lord again?" (4.2.155). Desdemona remains subject to her husband even until he murders her, going so far as to tell Emilia that she killed herself (5.2.128), an admission of guilt for a crime she clearly did not commit. Desdemona is ideal in the sense that she is chaste and virtuous throughout the entire play. She also appears to be intelligent and is willing to stick up for herself to her father and defend her love for Othello. In her relationship with Othello, however, she is passive and submissive, the stereotypical meek wife.
Emilia, Iago's wife, is a stark contrast to Desdemona. In some respects, she too seems to be obedient to her husband. She picks up the handkerchief that Othello gave Desdemona because Iago "hath a hundred times wooed [her] to steal it" (3.3.308-309), also saying that she does "nothing but to please his fantasy" (3.3.315). In the same speech, however, Emilia also calls her husband "wayward" (3.3.308). After she gives him the handkerchief, she asks Iago why he wants it and threatens to take it back if it is not for some good purpose (3.3. 333.335). Earlier in the play, Emilia talks back to Iago, asserting her independence when she says to him, "You shall not write my praise" (2.1.118). In her conversation with Desdemona about infidelity, Emilia informs her friend that she would commit adultery, giving the...
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