There can be no denial of the fact that literary works provide the creative artist with the utmost liberty to delve deep into interpersonal relationships and depth of emotions, thereby exploring the very true essence of human nature through the creative works of art. If one takes into consideration the famous play, Othello, penned by the acclaimed playwright, William Shakespeare, the quintessential exploration and depiction on the part of the creative artist can very well be comprehended as the play deciphers the subtleties of emotions and interpersonal relationship between the two sexes through the apt portraiture of the main characters of the narrative. The fact that the women characters of this play are subjugated by the male characters makes this play worth a thorough analysis to understand the power hierarchical relationship between the two sexes. In fact, the play portrays how the main male characters use violence to overpower their female counterparts in the course of the narrative- something that can be seen as a reflection of the position of women in the patriarchal Elizabethan era society of the time. A close introspection of the play would let one have a better idea about the matter in context.
Firstly, it has to be reckoned that the women of the period which Shakespeare belonged to had just a few rights of their own. The females were expected to be very obedient to the male counterparts or their brothers or fathers as well. These women did not receive any formal education as it was not a practice in those times. Moreover, these women did not have the right to vote or hold any political office in the country. Indeed, the Elizabethan woman in context was someone who was respectable. But, she was mentally conditioned by the society and culture to be passive in nature. Submission to the males was something that came across to be of normalcy to these women in context. (Radu et. al., 2016) Both Catholicism and Protestantism had major roles in institutionalizing the subordinate position of women in the contemporary society, and they were identified with their eligibility for marriage or having been married. In fact, marriage was seen as the social sanction of treating the female as a prized possession by the husband. The subjugation was catapulted to such an extent that the women could not bring any charges of abuse against their husbands. Even the laws of divorce were quite complicated that refused the women their due respect and equal status in the society. The husband could simply accuse his wife of being an adulterer to get a divorce, and the woman would have no way of defending herself.
Now, one needs to analyze the play in context in the backdrop of the societal position of women during those times. The relationship between Desdemona and Othello as well as that between Iago and Emilia can be comprehended with all their intricacy if one relates the narrative and the violence with the way women were treated during the Elizabethan era, as the play is simply the reflection of the times in context. Indeed, the marital relationships between the two couples in context do not reflect equality between the male and the female counterparts of the relationship. Rather, both the relationships stand for the domination of the male partner while the females are left to live in subjugation being dependent on their husbands. Also, it becomes evident that the males in context are the ones who are at the helm of the marriage and come across to be the ones overpowering their wives. While the subjugation of women was a common thing in those times, the playwright goes on to portray how violence plays its role in the bond between husband and wife as portrayed in the course of the narrative. (Kakkonen & Penjak, 2015) This not only complicates the very notion of love and commitment, but also exposes the innate oppressiveness of marital relationships and the misogynistic nature of the main male characters in the play.
The play Othello centers on Iago’s jealousy and deception. Iago is Othello’s ensign (a commissioned rank in the military just below lieutenant responsible for carrying a distinctive flag of the unit). However, Iago feels being wronged as Michael Cassio is made the lieutenant in Othello’s army. Iago feels that Cassio has no experience at all for being in that position. He opines, “One Michael Cassio, a Florentine (A fellow almost damn’d in a fair wife), the never set a squadron in the field, nor the division of a battle knows more than a spinster-unless the bookish theoric” (I.i.20-24). Iago also seems to believe that Othello has slept with Emilia, his wife. However, the readers do not find any proof of an affair between Othello and Emilia in the course of the narrative. This along with being passed over for promotion is what initiates Iago’s mission to humiliate and bring down Othello.
Right from the very inception of the play, it becomes clear that Desdemona got impressed by the tales of adventure and valor on the part of Othello- something that can be seen as a feminine apotheosis of the strength of masculinity of the male protagonist of this play. Even after they get betrothed, it is Othello who remains the dominant partner in the relationship. Desdemona no doubt plays a very pivotal role in the play, but remains as subordinate to her husband all the time. Desdemona goes on to accompany her husband to Cyprus, but more impediments await them in the new ambiance. While the playwright shows the relationship between Desdemona and Othello, the other subplot focuses on the equation between Iago and Emilia. Just as Othello overpowers his wife in the marital bond, Iago too controls Emilia. However, the main irony is that the women are simply used as pawns in the manipulative game weaved by Iago to bring Othello down. The violence in Othello’s marital life is ignited by none other than Iago who goes on to make him feel jealous and skeptical about his wife’s loyalty toward him. The fact that the marital bonds during the Elizabethan era were governed by parameters of subordination of the female and the hierarchical status of the male become evident as Othello gradually falls for the trap and starts to question his wife’s character in his own mind- something that triggers the violence in their marital bond. (Papp & Kirkland, 2003)
While Desdemona never suspects that her husband is jealous and thinks she is having an affair with Cassio, Emilia too works at the instruction of the dominant Iago. No doubt, Emilia has no idea about the manipulative ambition of Iago, but the fact that she never questions Iago’s intention behind urging her to steal the handkerchief of Desdemona testifies that Emilia lived under the subordination of her husband. However, one gets to see too much violence in the relationship between Othello and Desdemona as Othello simply fails to comprehend that Desdemona is totally committed to him. Othello never realizes that she willfully left her privileged life with her father to follow him into a war- something that goes on to prove her immense love for Othello. Truly, Othello could never provide the amenities that she was accustomed to back in her home. Apart from this, Desdemona had shown the courage and grit to give up the relationship between herself and her own family for the sake of being with Othello. Having comprehended this, when Desdemona endeavored to speak in favor of Cassio for pacifying Othello’s anger and letting him have his position back, Othello totally mistakes this to be a marker of the affair between the two and the adulterous nature of his wife.
With Iago working as an effective catalyst to Othello’s emotions against Desdemona, she is even hit in public by Othello. This blatant show of violence and disrespect for the woman whom he claimed to have loved is something unacceptable by moral standards. Moreover, such a reaction on the part of a male is uncalled for in a marital bond. However, it is dominance and violence that come to replace love and affection in the relationship between Desdemona and Othello. Nonetheless, Desdemona continues to try and make her husband believe that she never had an affair with Cassio. Even though Desdemona is disregarded by Othello a number of times in the course of the play’s narrative, she never goes against him in any way. Not only does she refrain from betraying her husband, but when at the end Othello goes on to kill her, she refuses to admit that it was him who killed her. This is the ultimate show of love and commitment in the face of violence and distrust by Othello. The fact that Othello dares to kill the woman he loved shows how Iago had poisoned his emotions against her.
Although Emilia faced subjugation at the hands of Iago, she is more of an outspoken lady for her time. In fact, when she comes to realize that Othello suspects his wife of being unfaithful, she endeavors to convince him to believe that Desdemona was really faithful in the relationship. One can understand that Emilia had stolen the handkerchief having no idea that it would be used by Iago to frame Desdemona and Cassio for having an affair. So, when she comes to find out that Iago has, in fact, placed the handkerchief as an evidence to implicate Desdemona, she never shows willingness to cover for her husband’s lies any longer. She comes to realize that she was complicit even though she had no idea about the plan to frame Desdemona and Cassio. As such, her feeling of guilt goes on to undermine her need to be obedient to her husband- something that makes her speak the truth. She says, “No, I will speak as liberal as the north: let heaven and men and devils, let them all, all cry shame against me, yet I’ll speak” (V.ii.220). Considering the culture of the time, this was a major step forward on the part of Emilia. Emilia says, “Good gentlemen, let me have leave to speak. Tis proper I obey him; but not now. Perchance, Iago, I will ne’er go home” (V.ii.195-197). Iago does not want his wife to continue to tell what she knows about the concocted affair between Desdemona and Cassio that Iago had manipulated Othello with. Iago says, “Be wise, and get you home” (V.ii.221) At this, his wife replies, “I will not” (V.ii.222). This is seen an act of betrayal in Iago’s perspective and he ends Emilia’s life, thus unleashing the ultimate violence on his wife.
Hence, it would be correct to conclude by saying that both Desdemona and Emilia are victims of violence at the hands of their respective male counterparts who show disrespect and lack of love for them. While Desdemona remains submissive and loyal to her husband right to her last breath, Emilia shows a dash of subversion in her nature as she sides with the truth and goes against her husband in the climactic sequence of the play. It is very intriguing to note how Shakespeare explores the nature of women in the society during that era via the characters in context. The play can very well be seen as an exploration of the innate oppressiveness in marriages and the subjugating patriarchal parameters that would condition the females and influence the males to treat their love in a particular manner. Othello as a play proves to be one of the stirring tales of human interpersonal relationships as it exposes the negative side of human nature in stark juxtaposition to the positives of love and affection. The play’s content thus has remained contextual in the present times as well.
References
Kakkonen, Gordana Galić & Penjak, Ana. (2015). The Nature of Gender: Are Juliet,
Desdemona and Cordelia to their Fathers as Nature is to Culture? Critical Survey 27(1).
Papp, Joseph & Kirkland, Elizabeth. (2003). “The Status of Women in Shakespeare's
Time.” EXPLORING Shakespeare. Retrieved from http://goo.gl/y2RsXe
Radu, Rachel & Sanchez, Sophia & Legal, Jewel Spring. (2016). “Women in the
Elizabethan Era.” Prezi. Retrieved from https://prezi.com/cmmsvof2swfs/treatment-of-women-during-the-elizabethan-era/
Shakespeare, William. (1883). Othello. London: Rivingtons.
