Gender in Othello

Shakespeare 's Othello comprises of the subjects betrayal, affection and dishonesty. At the focal point of this play is the lamentable ruin of Othello because of his so-called friend Iago. In this paper I will be examining the explanations behind and against Othello being in charge of his defeat through taking a gander at critical interpretations of his character and activities.

The ability of passion to bring destruction upon the lives of the unsuspecting is illustrated in Shakespeare’s Othello with the use of both manipulation and deceit. The curse of fierce passion fell namely on Othello as he transitioned from a respected general to an unstable murderer. His downfall is demonstrated through his increasing self-doubt, lack of ability to articulate, and violence. In the start of the play, he is an accomplished general and happy newlywed, and has yet to be significantly held back due to his being a Moor and outsider in Venetian society. As passion overtakes him, however, Othello truly ingrains the idea that he is less than, and those around him begin to blame his actions on the nature of his ethnicity. He has completely lost his identity to his desires and is unable to think rationally. Shakespeare juxtaposes this version of Othello with his initial composed self in Venice to demonstrate the damage of ignorance to logic and heighten the sense of tragedy. The effects of an overwhelming passion involving love, jealousy, and revenge are shown through Othello’s degradation and loss of stability.

    A variety of roles have women in them in William Shakespeare’s tragic drama Othello. Let us in this essay examine the female characters and their roles.

William Shakespeare’s 16th century play Othello is a duplicitous and fraudulent tale set alternatingly between Venice in act 1, and the island of Cyprus thereafter. The play follows the scandalous marriage between protagonist Othello, a Christian moore and the general of the army of Venice, and Desdemona, a respected and intelligent woman who also happens to be the daughter of the Venetian Senator Brabantio. Shakespeare undoubtedly positions the marriage to be viewed as heroic and noble, despite Othello’s hamartia and subsequent downfall that inevitably occurs. Their marriage is then sabotaged by the jealous Iago, Othello’s ensign and villain of the play. While Iago’s ostensible justification for instigating Othello’s demise was his failure to acquire Othello’s position as lieutenant, Iago’s motives are rarely directly articulated and seem to derive from an obsessive, almost aesthetic pleasure in manipulation and destruction. Through the genre of the play, being a Shakespearean tragedy, and the structural devices employed by Shakespeare such as plot development, exposition, foreshadowing, dénouement, dramatic excitement, and catharsis, the key ideas of jealousy, appearance vs. reality and pride are developed and explored.

In William Shakespeare’s The Tragedy of Othello, Iago demonstrates a mastery of manipulation over people who had previously trusted and confided in him. His sudden turn from Othello’s loyal ensign to rage-filled villain seems indicative of a man who can no longer accept his position in life. Iago’s plotting of Othello’s demise starts as idle talk of a disgruntled 28 year-old career military man passed over for promotion. Iago believes that such a promotion may never come after Othello rejects his candidacy and makes it clear that he did not believe him suitable. He sees Othello is only concerned with personal and political gain with his choice of Cassio as lieutenant. When Iago teams with love-scorned and desperate Roderigo, he begins

The relationships in Shakespeare’s plays are never simple and even less so when one narrows the field to his tragedies. In the case of Iago and Othello this complicated relationship is made more so by the interwoven theme of appearance verses reality. The idea of Iago, the wolf in sheep’s clothing, fighting both for and against his master that permeates the play. Othello, however, a seasoned warrior being unable to see through the guise is a flaw his companion takes advantage of. Iago’s hatred is the biggest mystery of this play, making the reader wish Shakespeare had written a prequel.

In the opening scene, while Iago is expressing his hatred for the general Othello for his having chosen Michael Cassio for the lieutenancy, he contrives a plan to partially avenge himself (“I follow him to serve my turn upon him”), with Roderigo’s assistance, by alerting Desdemona’s father, Brabantio, to the fact of his daughter’s elopement with Othello: “Call up her father, / Rouse him: make after him, poison his delight [. . .] .” Implied in

In the beginning of the play, the reader can sympathize with Iago’s need for justice. The reader learns that he has

   Shakespeare’s tragic drama Othello features sexism as regular fare – initially from Brabantio and Iago, and finally from Othello. Let us in this essay explore the occurrences and severity of sexism in the drama.

Their friendship is a vehicle for Iago’s revenge. Iago is also very focused on himself. He is so wrapped up in himself and his anger that he does not care who he hurts. Most of the deaths in the play are collateral damage of Iago’s vengeance. Iago’s greatest characteristic is his outstanding knowledge of how people think and behave. This is his most useful skill. This ability is used throughout the events of the play to coerce the other characters into destroying each other. Iago does all of this without his fellows figuring out much about him or his motivation, though Iago himself does not seem to know his motivation.

In the first scene, Iago was seen in the middle of a conversation with Roderigo. This opening scene sets forth the key elements to understanding Iago’s basic character and the play’s conflict. The scene revealed Iago’s deep resentment toward Othello and his outlook on himself as a soldier. “And I of whom his eyes had

The most important lesson that can be learned from The Tragedy of Othello, is the gender imbalance of power between men and women that destroys the possibility for true love between lovers. Throughout The Tragedy of Othello, women are abusively spoken to, called “whore(s)”, and are accused of things they did not do. Each woman in this play is portrayed as being either innocent, unintelligent or as a prostitute. It is as if they are meant to worship and obey the men. From the beginning of the play Iago believes that women are less than men. "Come on, come on! You are pictures out of door, / Bells in your parlors, wildcats in your kitchens, / Saints in your injuries, devils being offended, / Players in your housewifery, and housewives in your beds" (Shakespeare 2.1 108-11). While Iago is talking to Emilia and Desdemona, he insults all women, insinuating that they all put up a front when they are in public and that they are basically useless except for when they are having sex. Therefore, it is clear that during the 17th century, women were looked at as the inferior gender.

As in almost all tragedies, especially those of William Shakespeare, the tragic hero always runs into misfortune. The play Othello is no exception. In this play, every character acquainted with the tragic hero appears to be unfortunate. While these misfortunes are oddly related to Othello, are they his fault or did each character attract them out of their own actions? To answer this daunting question, one must consider the three most unfortunate characters: Othello, Desdamona and Roderigo and analyse their downfall which eventually lead to their deaths. It is known from reading the play that Iago is the one who manipulates all three of them. Examinations of their connection with him before their deaths are necessary to answer this

Main Idea: Shakespeare was not a sexist: All though the main three females in the play were seen as important and contributed tremendously towards the plot of the play. The readers see Shakespeare pushing the ideology of men and women being equal with the slow occurrence of many plots towards the play, and how it all unravels itself. These were proven in the play by when;

There are only three female characters in William Shakespeare's play Othello, Desdemona, Othello’s wife, Emilia, Iago’s wife and Desdemona’s lady-in-waiting, and Bianca, a courtesan. When first introduced to this limited number of representatives of the female gender, it is quickly assumed that they will not be very present or have an important role in story. In addition, the male characters of the play see women as submissive and promiscuous possessions that should be controlled by either their fathers or spouses. However Shakespeare’s female characters are shown to question male authority and to have the ability to speak for themselves, which could be seen as feminist statement during the Elizabethan time that Shakespeare lived in.