Gender Bias in Othello Essay examples

The basis of Shakespeare’s plays appears to focus mainly around the dominant male character and his conflicts, which tend to deal with a woman. There are only three women in the play Othello; Desdemona, Emilia and Bianca. The way in which these women behave and present themselves strongly reflects the ideological expectations of women within Shakespeare’s imagined Venetian society as well as the Elizabethan society in which he lived. This patriarchal Venetian society presented in the play depicts women as possessions of men who should remain submissive and meek at all times. The women are expected to unselfishly and unreservedly devote their lives to serve their fathers until they are of age to do so, their husbands. All three women love

In the play ‘Othello’ written by William Shakespeare, we see not only the main male character leads. But we also see the female characters, Desdemona, Emilia, and Bianca. These three women were portrayed in ways that showed them being inferior to the other male roles as well as society during the Elizabethan Era. But Shakespeare made each of these individual ladies characteristics quite unique to one another having the traits of a feminist. Even though in the play we read how the male characters did somewhat control them and made them look weak compared to them, there were moments where Desdemona, Emilia and Bianca stood up for themselves.

Second, the play Othello paid deep attention to women possessing the personality of being submissive. There are countless pieces of evidence from the play that strongly suggest that women are submissive. One is when after Othello said his farewell words to end his conversation with Desdemona in the garden of the castle. Desdemona have said “What e’er you be, I am obedient” (Act III, Scene 3, Line 89, Page 144). She claimed that she is amenable and continue to accommodate all of Othello’s instructions and commands and she wishes to follow

Othello has been described as one of William Shakespeare’s most popular plays because the play focuses on its themes of good and evil, military, politics, love and marriage, religion, racial prejudice, gender conflict, and sexuality; but the controversy and debate surrounding Othello is “Why is Othello a qualification for a tragedy?”

Although misperceptions about the other gender are dangerous causes of downfall, flawed views among one’s own gender are also great contributors to destruction. Othello and Desdemona best exemplify this notion. Desdemona presents herself as pure, compassionate, and understanding towards everyone, especially Othello. Shakespeare theorizes on how some women believe the stereotype about females is valid and must be followed, and men can exhibit the same

Contextually it is important to understand how women are presented as tragic victims of men in ‘Othello’. Contemporary views of women were, according to Sir Thomas Elyot “to be mild, timorous, tractable, benign, of sure remembrance, and shamefast.” Conversely men were seen to be “fierce, strong in opinion, covetous of glory, desirous of knowledge, appetiting by generation to bring for his semblable.” Elyot’s views of the contemporary man, though much grander than those of women, could prove to be their downfall in ‘Othello’. Shakespeare’s protagonist’s downfall could be based on the fact that he is desirous of knowledge, and Iago’s manipulation of Othello’s trustworthy nature suggests that not only are women the tragic victims of men, but it is men who are also victims of men.

Brabantio’s rage, among other reasons, necessitate that Desdemona live with Iago and Emilia during the Moor’s campaign in Cyprus against the Turks. While awaiting the arrival of Othello’s ship at the seaport of Cyprus, Desdemona shows herself an intelligent, educated debater. She grows tired of Iago’s derogatory comments directed at his wife, and she quite matter-of-factly states her mind: “O, fie upon thee, slanderer!” She continues to critique the ancient’s answers to her questions:  “These are old fond paradoxes to make fools laugh i' the alehouse” and “O heavy ignorance! thou praisest the worst best.” She is not fearful or reticent in the least.

Firstly, the patriarchal representation of women and sexuality throughout “Othello” effectively demonstrates the movement of cultural values through historical contexts. Desdemona and Emilia are character foils of weak and strong, and Desdemona is often subject to objectification. Desdemona’s husband, Othello, stated, “I won his [Brabantio’s] daughter” (1.2.94), which metaphorically objectifies Desdemona as an object to be “won”. Bianca, a Venetian mistress, is also degraded through her speech. She is often regarded as a “whore”, with no consequence for the men who say it. For the entire play, Bianca speaks in prose whereby there is an absence of iambic pentameter, separating her from the nobility who speak in verse. Bianca and Desdemona effectively reflect female isolation and dismissal within society simply because of their gender, thus emphasising the state of women in 16th century society.

Othello, by William Shakespeare is well known for its richness in literary content and elements pertinent to societal ideas. Moreover, women are portrayed in Othello in ways that confirm, but also contradict their treatment in Shakespeare’s time. Both female action and language represent these ideas such as expectations for a wife and expectations for how a woman is to act. That said, there are many other lines spoken by these characters that defy the expectations placed on women at time. Overall, the feminist critical lens allows a reader to understand Othello and the manner in which it is slightly sexist and controversial. This lens allows the reader to observe both discrepancies of how women are treated, and common characteristics found

The First Senator encourages the newly married general: “Adieu, brave Moor, use Desdemona well.” The word use conveys the sexist belief of the husband’s ownership of the wife. Later, when Roderigo confesses to Iago his depression and suicidal feelings over the loss of Desdemona, the ancient seeks to keep him alive by

    Othello represents a prime example of Shakespeare's ability to develop relationships between the sexes so as to demonstrate those relationships' weaknesses. In Othello, the sexes are divided by misconceptions and ego- centric views of the opposite gender. The men of the play, in particular Othello, maintain a patriarchal, chivalric notion of the sexes, while the women of the play yearn for more involvement in their husbands' affairs. So it is that the thrust of the play emerges from "the opposition of attitudes, viewpoints, and sexes." (Neely 214)

Othello, the general and protagonist, seems initially to be totally lacking in sexism. He loves Desdemona

In the play, Othello, there are many different representations of characters and archetypes. The women of the play are seen as symbolic representations of how the men in Shakespeare’s generation saw women. The women of the play are all individual characters with different personalities. They are seen as objects but stray from the average mold. Shakespeare converts these women into the play with roles that represent the strong stereotypes of women and how they are not what the rumors portray them as.

However, in Othello, the character of Desdemona surpassed the norms of gender set for women of that time. There is no doubt to consider Desdemona is violating the social norms because she is willing to breach her social roles as a daughter and even as a wife at times. Through her “incorrect” gender performance, Shakespeare portrays Desdemona as a strong, independent woman who breaks away the gender barriers of patriarchal society. But at the end of the play, we know it is the consequence of her actions that have led her to death.

With the Turkish campaign against Cyprus in motion, the Duke of Venice scarcely has time for Brabantio’s protestations. And the First Senator encourages the newly married general: “Adieu, brave Moor, use Desdemona well.” The word use conveys the sexist belief of the husband’s ownership of the wife. Later, when Roderigo confesses to Iago his depression and suicidal feelings over the loss of Desdemona, the ancient seeks to keep him alive by saying that Othello will soon grow tired of his bride, stating