Bianca seems to receive most of the strumpet slander out of the three women. This
Bianca seems to receive most of the strumpet slander out of the three women. This
First, a reader must understand the way gender was understood in Shakespeare’s time. “If we are going to insist in understanding the Elizabethan dramatic artifice, let us also insist in examining Othello according to the traditional values which Shakespeare has injected implicitly and explicitly into the play (Kirschbaum, 284).” This quote given by another author shows the importance of understanding the original texts. The original text, while maybe outdated, is still vital in understanding the culture and history behind the play. A student must understand the implications that Shakespeare originally intended to be understood by the audience. There are three main characters in the play. These women are Desdemona, Emilia, and Bianca. These women all show true, strong affection to the main men in their lives.…
Shakespeare first explores Elizabethan attitudes towards women when Desdemona is first mentioned in scene one. Iago calls to Brabantio to ‘look to your house, your daughter, and your bags’ claiming ‘you’re robbed’ by ‘thieves’. This immediately implies Desdemona is her father’s physical possession, much the same as Brabantio owns his ‘bags’ or his ‘house’. This identification is supported by Brabantio’s exclamation ‘how got she out?’, suggesting that women are objects that belong and are controlled by men. Similarly, Iago states to Cassio that ‘[Othello] hath boarded a land carrack’, stressing the sexual connotations associated with Desdemona being presented as an object that Othello can just ‘board’. However, Desdemona then contradicts this classification when her true self is revealed later in the play through Othello’s account of their initial meetings and the beginning of their courtship, whereby Desdemona would listen to Othello’s tales ‘with a…
"Miami no es los Estados Unidos" (Miami is not the United States) is a phrase that I heard many times while growing up in Miami. It is problematic, because at its core lies the idea that a city that is teeming with Latinx/Hispanic immigrants could not be representative of what the United States "really" is. An idea that is pervasive but that unnecessarily emphasizes the vibrant culture of Miami, and underplays the socioeconomic inequality that exists in many other cities. As an immigrant I have grown up as a part of communities that are often considered under-served, and that consistently struggled financially. Something that I was aware of from a young age, and that truly shaped the way I looked at my future. With every time that my mom woke…
In Othello, the two main women, Desdemona and her friend Emilia, are foils of one another. Desdemona is Othello’s wife and acts exactly as a woman was believed to in their era, a devoted and subservient wife who would die if that is what her husband requested, whereas Emilia was loyal to her husband only until it contradicted her moral code. Emilia stood up for her friend when she was threatened, “Good gentlemen, let me have leave to speak: / Tis proper I obey him, but not now. / -Perchance, Iago, I will ne’er go home”(Othello V.ii.195-197). Throughout the play, Emilia makes references to her independent nature, but it is not until this scene at the end of the play that she openly defies her husband in order to protect her closest friend. It is a total girl power moment for her and led to many discussions about her as a character, “[she] achieved psychological freedom and freed herself from societal domination and self-imposed restraints by speaking and acting as she thinks and feels”(Iyasere). Emilia also has a powerful monologue comparing women to men in this play. Her outcry to the men is a strikingly radical speech in a play that had repeatedly displayed patriarchal dominance. Her tone is powerful and progressive throughout the final scene, contributing to the impact the…
Herbie and Stolen Car by Archie Weller both explore the lives of two Aboriginals and the racism and alienation they experience due to their Aboriginality and the way they react to the situation they are in.…
There are many reasons why boys would play the female roles throughout the 1800s during Shakespeare's influence over the theatre. Young boys would often play the parts of women in Shakespeare plays and an entrance into an acting career. Often there would be only around 4 actors performing in one production at a time therefore multi rolling was common and each actor had to be versatile. Audience members gave positive impressions of the quality of the acting of boy players.…
One of the first relationships seen during the play Othello is that which runs between Desdemona and Brabantio of a father to his daughter. As was the attitude of the time Brabantio considered Desdemona as a procession and a prize rather then a person. This stemmed from the patriarchal society of the time. The way women are treated as possessions can clearly be seen in the way Roderigo and Iago refer to Desdemona in Act one - 'Thieves, thieves! Look to your house, your daughter and your bags! Thieves, thieves!' Act 1, Scene 1, 80-3. Brabantio loves his daughter but considerers her as a piece of property to shelter and own. From this attitude of possessing women Brabantio becomes utterly infuriated when he discovers that Desdemona has eloped with Othello and thus deceived him which was unheard of at the time. Brabantio's possessive nature of Desdemona reveals itself clearly when he stands before the Duke, 'She is abused, stolen from me and corrupted.' Act 1, Scene 3, 60. Upon leaving the Dukes chambers Brabantio says to Othello - 'If she can deceive once she can deceive again.' Act 1, Scene 3, 190, - this is the key line which plays an immense part in the final outcome of this play for it runs through…
In William Shakespeare’s drama “Othello” the vast differences in gender perception is highlighted in the characters of Othello and Desdemona. Being a moor Othello should be part of the lowest social class yet because of his position in the military his men need to show him respect while inwardly they despise him, this two faced behaviour can be seen in Iago. Desdemona on the other hand has been naturally born to high society but when she chooses to marry Othello she is ostracized and marked as a social outcast. Because of Desdemona’s gender she is abandoned by those in her own class while because he is a man Othello is given respect…
When a person thinks of a devoted female character, Desdemona from Othello is the first that should pop into mind. While Desdemona is perceived as a one of Shakespeare’s brightest and most loyal female characters, she is also a clear victim of the gender stereotypes of the time. One of the first things that we know about Desdemona and Othello’s relationship was that they were not brought together necessarily her sexuality, but by Othello’s interest in her mind. In fact, the first time that Desdemona is introduced in Act 1, scene 3, she is presented as strong, independent, and capable of making her own decisions. In her first lines of the play, she says;…
“There is not one word apt”- to what extent is this a fitting description of “A Midsummer Night’s Dream”? Does Shakespeare’s comedy have a purpose beyond simply making us laugh?…
In Act IV, scene III of Shakespeare’s Othello, Emilia explains reasons for unfaithfulness. Emilia conveys her ideology about infidelity to Desdemona, a character that has not yet been exposed to the idea, through the use of rhetorical strategies such as appeals, imagery and diction to further reinforce her point that infidelity is caused by the husband. There is a plethora of appeals in Emilia’s monologue, many of which involve Emilia’s personal encounters with the idea of unfaithfulness. In Act VI, scene III, Emilia states, “Yes, a dozen, and as many to th' vantage as would store the world they played for. But I do think it is their husbands' faults if wives do fall.”.…
Women are to be pretty and looked at. Women are flirts. Women are never in charge. These are just a few, but common stereotypes that females encounter. As much as females try to stray away from this discrimination, some become embodied by them. Shakespeare creates three unique women in his play Othello. Their desire to avoid labels overtakes their rational thought of how a woman should act. By looking at the dialogue and behaviors of the women in Act four of Othello, one understands that they embraced their stereotypical roles; this is important because as much as they want to break away from the norm, they cannot.…
In William Shakespeare's play Hamlet Hamlet's treatment and ideas of women are influenced greatly by his mother, Gertrude. His jealously causes him to become infatuated with his mother and she becomes the main symbol of women for Hamlet throughout the play. When she betrays him it forces Hamlet to have a negative opinion towards all women. Hamlet is obsessed with the betrayal by his mother, which causes him to mistreat woman in general and leads to his eventual tragedy.…
To begin, the men and women have strongly implemented values; the men believe in patriarchal dominance and the women are taught to be submissive to the men in their lives. Throughout the book, Iago undervalues his wife, Emilia; he sees her as inferior and consistently belittles her. His perception is skewed by his belief that men are superior to women, and he generalizes women stating “ You are pictures out of the door, bells in your parlors, wildcats in your kitchens, saints in your injuries, devils being offended, players in your huswifery, and huswives in your beds.” (II.I.123-125) Iago believes that women are just pawns and a burden to a man, although he has a wife his enforced morals prevent him from treating her and viewing her as an…
The idea of a female protector standing in for men is apparent in Much Ado About Nothing, where Beatrice takes on a similar role to Paulina. How ever emphatic her words are in defence of Hero, Beatrice understands that as a women she is severely limited in her influence. ‘If I were a man’, she says, ‘I would eat his [Claudio’s] heart in the marketplace’, but as it is, she can ultimately do little directly in support of her cousin except ‘die a woman grieving’ (4.1.321). Once again, the heroine is saved by her physical response, in the face of slander, and Hero blushes before she faints. In Renaissance literature, blushing is seen as a non-verbal indicator – like fainting – of a women’s honesty. In Bentley’s instructions to ladies, he associates ‘blush’ with the ‘steadfastnesse of… women’ (11). Moreover, Shakespeare’s poem, ‘A Lover’s Complaint’, features a weeping ‘pure…