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The Role of Women in Shakespeare
The Role of Women in Shakespeare
In the play Othello, the Moor of Venice, William Shakespeare portrays his female characters as weak and blindly loyal to their husbands; their only role in the play is to support men’s stories. Even though Iago and Othello’s storylines rely on Desdemona and her alleged infidelity, the play never really focuses on her own character arc, except as it relates to the men in her life. Emilia’s one major choice in the story is to steal Desdemona’s handkerchief for Iago, even though he verbally abuses her. Most of Bianca’s story is about making Cassio happy, and the only time she contributes to the plot of the play is when she confronts Cassio about his supposed cheating, and Othello overhears. These examples offer insight that, during the Shakespearean era, women were thought of as possessions that existed to make men happy, rather than being truly equal to men.
In the play Othello, the Moor of Venice, William Shakespeare portrays his female characters as weak and blindly loyal to their husbands; their only role in the play is to support men’s stories. Even though Iago and Othello’s storylines rely on Desdemona and her alleged infidelity, the play never really focuses on her own character arc, except as it relates to the men in her life. Emilia’s one major choice in the story is to steal Desdemona’s handkerchief for Iago, even though he verbally abuses her. Most of Bianca’s story is about making Cassio happy, and the only time she contributes to the plot of the play is when she confronts Cassio about his supposed cheating, and Othello overhears. These examples offer insight that, during the Shakespearean era, women were thought of as possessions that existed to make men happy, rather than being truly equal to men.
In the play, Othello, the Moor of Venice, the entire plot revolves around Desdemona’s suspected adultery, yet the audience is never really privy to her side of the story. They only see her as a loyal wife to Othello, no matter what he does to her. In Act IV, when Desdemona continues speaking to Othello about giving the lieutenant position back to Michael Cassio—the man Othello thinks Desdemona is having an affair with—Othello strikes her in anger.
In the play, Othello, the Moor of Venice, the entire plot revolves around Desdemona’s suspected adultery, yet the audience is never really privy to her side of the story. They only see her as a loyal wife to Othello, no matter what he does to her. In Act IV, when Desdemona continues speaking to Othello about giving the lieutenant position back to Michael Cassio—the man Othello thinks Desdemona is having an affair with—Othello strikes her in anger.
“DESDEMONA: My lord?
“DESDEMONA: My lord?
OTHELLO: I am glad to see you mad.
OTHELLO: I am glad to see you mad.
DESDEMONA: Why, sweet Othello!
DESDEMONA: Why, sweet Othello!
OTHELLO: (striking her) Devil!
OTHELLO: (striking her) Devil!
DESDEMONA: I have not deserved this.
DESDEMONA: I have not deserved this.
LODOVICO: Truly, an obedient lady. I do beseech your lordship, call her back” (IV.i.265-270).
LODOVICO: Truly, an obedient lady. I do beseech your lordship, call her back” (IV.i.265-270).
Throughout this scene, Desdemona is portrayed as a weak character who can be hurt by her husband but, due to her loyalty, will not report him or get him in trouble. Besides being a tool in Iago’s revenge against Othello, Desdemona does not have much characterization or a role in the story. There are no scenes that show her thinking about her own future or her views on situations that do not include men. Desdemona appears in nine of the total fifteen scenes in the play. Out of these nine scenes, in seven she speaks only to men, and in the remaining two scenes she talks to Emilia about a man. When examining the play through a modern lens, the Bechdel Test can be helpful when evaluating the role of women. The Bechdel Test is “a simple test which names the following three criteria: (1) it has to have at least two women in it, (2) who talk to each other, about (3) something besides a man” (Bechdel). Alison Bechdel first popularized this test in 1985 as a way to examine the roles and dialogue women have in movies. Of course, this test was developed long after Shakespeare’s time and not originally intended to judge plays, but it is still a useful tool to evaluate the quality and importance of female roles in any story. Desdemona’s role, like the roles of all the female characters in Othello, would clearly fail the test. All of Desdemona’s dialogue revolves around her relationship with Othello, whether it’s showing him affection, asking him to hire Cassio, or insisting that she never cheated. Ultimately, this all leads to her lack of a substantial role in the tragic play, besides being a possession of men.
Throughout this scene, Desdemona is portrayed as a weak character who can be hurt by her husband but, due to her loyalty, will not report him or get him in trouble. Besides being a tool in Iago’s revenge against Othello, Desdemona does not have much characterization or a role in the story. There are no scenes that show her thinking about her own future or her views on situations that do not include men. Desdemona appears in nine of the total fifteen scenes in the play. Out of these nine scenes, in seven she speaks only to men, and in the remaining two scenes she talks to Emilia about a man. When examining the play through a modern lens, the Bechdel Test can be helpful when evaluating the role of women. The Bechdel Test is “a simple test which names the following three criteria: (1) it has to have at least two women in it, (2) who talk to each other, about (3) something besides a man” (Bechdel). Alison Bechdel first popularized this test in 1985 as a way to examine the roles and dialogue women have in movies. Of course, this test was developed long after Shakespeare’s time and not originally intended to judge plays, but it is still a useful tool to evaluate the quality and importance of female roles in any story. Desdemona’s role, like the roles of all the female characters in Othello, would clearly fail the test. All of Desdemona’s dialogue revolves around her relationship with Othello, whether it’s showing him affection, asking him to hire Cassio, or insisting that she never cheated. Ultimately, this all leads to her lack of a substantial role in the tragic play, besides being a possession of men.
In Othello, the Moor of Venice, Emilia, Iago’s wife, is the other main female character, yet she does not have a big role in the story besides supporting her husband, despite his continual abuse.
In Othello, the Moor of Venice, Emilia, Iago’s wife, is the other main female character, yet she does not have a big role in the story besides supporting her husband, despite his continual abuse.
“EMILIA: You have little cause to say so.
“EMILIA: You have little cause to say so.
IAGO: Come on, come on. You are pictures out of the door, bells in your parlors, wild-cats in your kitchens, saints in your injuries, devils being offended, players in your housewifery, and housewives in your beds” (II.i.119-126).
IAGO: Come on, come on. You are pictures out of the door, bells in your parlors, wild-cats in your kitchens, saints in your injuries, devils being offended, players in your housewifery, and housewives in your beds” (II.i.119-126).
In this quote, Iago explicitly states his point of view about women. He believes that all women do is complain and that they do not actually have any serious roles in life besides being housewives. Based on the ways that women are portrayed in Othello, Iago is not completely wrong. All the actions women take in the play are done to satisfy the men. For example, when Emilia provides Desdemona’s handkerchief to her husband Iago, he then uses it to frame Cassio and make Othello further suspect Desdemona and her infidelities.
In this quote, Iago explicitly states his point of view about women. He believes that all women do is complain and that they do not actually have any serious roles in life besides being housewives. Based on the ways that women are portrayed in Othello, Iago is not completely wrong. All the actions women take in the play are done to satisfy the men. For example, when Emilia provides Desdemona’s handkerchief to her husband Iago, he then uses it to frame Cassio and make Othello further suspect Desdemona and her infidelities.
“IAGO How now! What do you here alone?
“IAGO How now! What do you here alone?
EMILIA Do not you chide. I have a thing for you.
EMILIA Do not you chide. I have a thing for you.
IAGO A thing for me? It is a common thing—
IAGO A thing for me? It is a common thing—
EMILIA Ha?
EMILIA Ha?
IAGO To have a foolish wife” (III.iii. 309-314).
IAGO To have a foolish wife” (III.iii. 309-314).
All Emilia wants to do is please Iago, so she steals the handkerchief from Desdemona and brings it to her husband. This is one of the few times Emilia makes a choice that moves the plot forward—stealing the handkerchief makes Iago’s revenge scheme possible—but this choice is made solely to please her husband. Even then, Iago does not thank her or show any appreciation but continues to disrespect Emilia and call her foolish.
All Emilia wants to do is please Iago, so she steals the handkerchief from Desdemona and brings it to her husband. This is one of the few times Emilia makes a choice that moves the plot forward—stealing the handkerchief makes Iago’s revenge scheme possible—but this choice is made solely to please her husband. Even then, Iago does not thank her or show any appreciation but continues to disrespect Emilia and call her foolish.
In the play, the two main jobs that women have are either as handmaids, like Emilia, or prostitutes, like Bianca. Bianca loves Cassio very much and does whatever he asks. For example, when Cassio asks Bianca to copy the embroidery on Desdemona’s handkerchief, she agrees because she loves him so much. However, Bianca later confronts Cassio because she thinks he is cheating on her. Othello overhears this outburst, which confirms his suspicions that Desdemona is having an affair with Cassio. Like Emilia, Bianca’s one main moment to move the plot forward has little to do with her; it is about Iago’s revenge and Othello’s jealousy. Additionally, Bianca is extremely loyal to Cassio, yet he does not feel the same way and even makes fun of her for loving him. As Iago describes,
In the play, the two main jobs that women have are either as handmaids, like Emilia, or prostitutes, like Bianca. Bianca loves Cassio very much and does whatever he asks. For example, when Cassio asks Bianca to copy the embroidery on Desdemona’s handkerchief, she agrees because she loves him so much. However, Bianca later confronts Cassio because she thinks he is cheating on her. Othello overhears this outburst, which confirms his suspicions that Desdemona is having an affair with Cassio. Like Emilia, Bianca’s one main moment to move the plot forward has little to do with her; it is about Iago’s revenge and Othello’s jealousy. Additionally, Bianca is extremely loyal to Cassio, yet he does not feel the same way and even makes fun of her for loving him. As Iago describes,
IAGO: Now will I question Cassio of Bianca,
IAGO: Now will I question Cassio of Bianca,
A huswife that by selling her desires
A huswife that by selling her desires
Buys herself bread and clothes. It is a creature
Buys herself bread and clothes. It is a creature
That dotes on Cassio, as ’tis the strumpet’s plague
That dotes on Cassio, as ’tis the strumpet’s plague
He, when he hears of her, cannot refrain
He, when he hears of her, cannot refrain
From the excess of laughter. Here he comes. (IV.i.83-94)
From the excess of laughter. Here he comes. (IV.i.83-94)
Iago’s claim that Cassio cannot stop laughing at Bianca makes it clear to the audience that Cassio does not reciprocate her feelings. Still, Bianca does what he asks, as that is her only role: to make men happy.
Iago’s claim that Cassio cannot stop laughing at Bianca makes it clear to the audience that Cassio does not reciprocate her feelings. Still, Bianca does what he asks, as that is her only role: to make men happy.
During the Elizabethan Era, as described by the Elizabethan Era.org, “Elizabethan Women were subservient to men. There was little dispute over such arrangements as Elizabethan women were raised to believe that they were inferior to men and that men knew better.” Since the Elizabethan women’s only role was to make men happy, they did not have any other jobs, and it was believed that they had no other personal desires. This belief is reflected through the women in the play Othello, the Moor of Venice by William Shakespeare. In the play, the women’s only roles are to be loyal, weak, and to serve their husbands blindly. This is portrayed through Desdemona, who continues to be loyal to Othello even after he hits her, Emilia, who steals Desdemona’s handkerchief to make Iago happy, even though he continually abuses her, and Bianca, whose actual job is to make men happy through her prostitution, despite the fact that they disrespect and disregard her. The portrayals of these characters demonstrate the ways Shakespeare and his audience felt about women in society, that their only role was to please men, despite any abuse.
During the Elizabethan Era, as described by the Elizabethan Era.org, “Elizabethan Women were subservient to men. There was little dispute over such arrangements as Elizabethan women were raised to believe that they were inferior to men and that men knew better.” Since the Elizabethan women’s only role was to make men happy, they did not have any other jobs, and it was believed that they had no other personal desires. This belief is reflected through the women in the play Othello, the Moor of Venice by William Shakespeare. In the play, the women’s only roles are to be loyal, weak, and to serve their husbands blindly. This is portrayed through Desdemona, who continues to be loyal to Othello even after he hits her, Emilia, who steals Desdemona’s handkerchief to make Iago happy, even though he continually abuses her, and Bianca, whose actual job is to make men happy through her prostitution, despite the fact that they disrespect and disregard her. The portrayals of these characters demonstrate the ways Shakespeare and his audience felt about women in society, that their only role was to please men, despite any abuse.
Works Cited:
Works Cited:
“Bechdel Test Movie List.” Justice League - Bechdel Test Movie List, bechdeltest.com/.
“Bechdel Test Movie List.” Justice League - Bechdel Test Movie List, bechdeltest.com/.
Shakespeare, William. Othello. Cambridge University Press, 2018.
Shakespeare, William. Othello. Cambridge University Press, 2018.
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