The Handkerchief of Love and Deception in Othello Essays

Iago sees the handkerchief as a way of finally being able to get to Othello. Iago feels that the handkerchief is a symbol of Desdemona’s faith to Othello. By obtaining this symbol of her faith, he is able to deploy his plan of revenge against Othello. Othello discovers that the handkerchief is missing and becomes very angry with Desdemona. When Desdemona looses her handkerchief, Othello believes she is unfaithful. Othello sees Cassio with the handkerchief and accepts it as confirmation of Desdemona's infidelity.

Iago is angered at being passed over in the nomination of first lieutenant by Cassio; along with Roderigo both are resolved to overthrow Othello.  Emilia eventually is privy to the most intimate details of their plans.  "I am glad I have found this napkin; This was her first remembrance from the Moor; My wayward husband hath a hundred times Woo'd me to steal it…."

Emilia contributes to the characterization of both Iago and Desdemona. Emilia enters the play in Act II, Scene i when she and the party arrive in Cyprus. Iago speaks to her rudely and treats her disparagingly in front of the others; “Come on, come on! You are

Despite her loyalty to Desdemona, Emilia chooses to impress her husband over her mistress not knowing Iago’s master plan. Emilia uses hyperbole to emphasize the amount of times her husband has asked her for this very symbolic handkerchief. Not expecting much harm, she gives the precious handkerchief to Iago who then helps Othello confirm that Desdemona is unfaithful. The lady in waiting takes into consideration the meaning and value of the handkerchief and how “wayward” her husband is but she still trusts Iago. Emilia finally finds out that Iago is the evil mastermind to the death of Desdemona when she finds out her husband framed Cassio and Desdemona’s relationship. Emilia explains to Othello the truth about the handkerchief “ that handkerchief thou speak’st of I found by fortune and did give my husband… he begged of me to steal’t ”(5.2.222-226). Emilia realizes her blindness to Iago's desperate want of the handkerchief costing her mistress's’ life. After Emilia reveals the truth to everyone, Iago stabs his wife and flees. Emilia dies an innocent death due to her blindness to her husband's true nature as she was deceived and manipulated in Iago's plan of revenge.

In “Othello” Iago and Emilia aren’t together in many scenes but when they are, you can tell they don’t communicate well. It starts off with Iago’s two-faced personality, he asked Emilia to steal Desdemona’s handkerchief with no reasoning behind it. Emilia, on the day Desdemona dropped her handkerchief, says “I am glad I have found this napkin” (III, iii, 334). She continues to go on to say “my wayward hath a hundred times wooed me to steal it” (III, iii, 336-337). Without Iago even saying why he needed it, Emilia went and got what was asked of her just because he was her husband. Iago got the handkerchief to make it look like Desdemona was cheating on Othello with

This is the main cause of Desdemona’s death. To be specific Emilia cares for her friend deeply on the other hand; she is also loyal to Iago and wants to make him happy in the process of doing so she takes the handkerchief.

Towards the end of the play Emilia becomes so angry with Iago, after all he had just caused Othello to kill his wife and

Throughout the play, yes, Emilia certainly has her moments of shining independence and strength, and it is important to recognize those instances in order to decipher to what extent Emilia truly vouched for fair treatment and equality. In the midst of Shakespeare’s characterization of Iago as someone who disrespects women, Iago comments on his his spit fire of a wife by saying, “Sir, would she give you so much of her lips / As of her tongue she oft bestows on me / You’ll have enough.” (II.i.100-102). Iago shares a glimpse of how emilia behaves when nobody else is around, saying that she talks without end, given Iago’s demeaning nature it can be interpreted that he

In the last act, Emilia is capable of speaking out Iago’s bloody guilt in front of gentlemen bravely. For instance, she is unafraid of resisting Iago by saying “’Tis proper I obey him, but not now… I will ne’er go home”(V, ii, 195). Emilia’s anger is perfectly delineated through her speech. To some extent, Emilia is equivalent with the status men since she firmly claims that she "will not charm [her] tongue", and that [she] is bound to speak” (5.2.183-184). When Iago demands Emilia to go home, she expresses her emotions being long suppressed. In spite of the traditional view that restricts wives to be reticence and passive, Emilia becomes an outspoken individual as she breaks the rule of obeying the husband in order to act on her behalf. At last when Iago brutally stabs Emilia to death, her self-sacrifice is heroic as she lived to protect her mistress. Furthermore, Emilia is in fact the only character in the play that is excluded from Iago’s malicious plan because of his neglect. Emilia’s disobedient acts ultimately constitute Iago’s downfall and significantly display the ideas that women can be as strong as men, thus, her braveness and belief fits the ideology of

Emilia is the wife of Iago and Desdemona’s maidservant. Emilia, much like Desdemona, does not have much power but once again her presence has an effect. Her role in the play, apart from being Desdemona’s maid, is to fetch

Emilia without a doubt out smarts everyone, including her own brilliant husband, Iago, but little does he know that his loyal wife surprisingly ruins his plan. By gaining his trust, Emilia soon realizes Iago's conniving plan and uses that against him in the end. Considering Iago has no idea what Emilia knows about his plan, he ignores her underrated intelligence. To gain Iago's trust,

Coupled with Emilia’s obedience to Iago, his ploy can finally convince Othello of Desdemona’s unfaithfulness. Emilia does not agree with her husband, Iago very much, but she does obey him when she has the opportunity to do so. However, Emilia picks up Desdemona’s handkerchief, with no thought, only that it will please her husband, “what he will do with it /heaven knows, not I; /I nothing but please his fantasy,” (OTH.III.III.297-289). Subsequently, this handkerchief may not have much meaning to Emilia at this moment, but once she finally discovers the truth about her husband, she immediately accuses her husband of being a villain, and dies by his hands. Correspondingly, Emilia is also loyal to her husband, to such an extent as to lie to Desdemona about where her handkerchief has gone. As Desdemona worryingly searches for her handkerchief, Emilia denies knowing where she could have lost it, and suggests a different reason for Othello’s uneasiness, “I know no madam… /Is he not jealous?” (OTH.III.IV.14, 20). Emilia knows where the handkerchief has gone, but remains silent because her husband, Iago has told her to. As a result of Emilia’s loyalty Iago does not need to worry about others discovering where Othello’s handkerchief

Susan Snyder states "Barbantio, Iago and finally Othello see the love Between Othello and Desdemona as unnatural, ‘nature erring from it self’." Othello expresses this through his statement,

Daringly, Shakespeare opens this tragedy of love not with a direct and sympathetic portrayal of the lovers themselves, but with a scene of vicious insinuation about their marriage. The images employed by Iago to describe the coupling of Othello and Desdemona are revoltingly animalistic, sodomistic. [. . .] This degraded view reduces the marriage to one of utter

The second event to this process of tragedy is when Iago uses the handkerchief that he had his wife take to create “proof” that Desdemona was cheating on Othello with Cassio. Already ridden with jealousy, Othello demands Iago that he must have “ocular proof” to Desdemona's “deception.” In line with his devilish plan, Iago tells Othello that, “but such a handkerchief—I am sure it was your wife's—did I today see Cassio wipe his beard with” (Shakespeare 1330), knowing full well that the handkerchief was a precious symbol of love between the moor and Desdemona, although he pretended to be oblivious. His plan once again works its “poison” upon Othello as the moor says, “now do I see