othello gender essay

Gender Conflict in Othello by Jackie Chirco

Gender conflict in othello.

The female characters in Shakespeare’s “Othello” are unknowingly thrown into the center of Iago’s villainous plot and used as pawns. How do they combat their circumstances and find power? 

How Women Find Power in a Misogynist Society

At the heart of several of Shakespeare’s plays are conflicts circulating around gender, where certain misogynist tropes are displayed. Oftentimes, women are used by the villain to hurt the protagonist, manipulated and used as bait. In Shakespeare’s Othello , the female characters are unknowingly thrown into the center of Iago’s villainous plot and used as pawns to take down Othello. Iago’s treatment of women speaks to the gender conflict scattered throughout the play and shows how even though the main goal is to hurt the man, Othello, it’s achieved at the women’s expense. Seen as nothing more than tools to carry out the evil scheme, the women are painted as deceivers and face false accusations, which ends up costing them their lives. Although the women are naive about Iago’s plan, they are aware of the gender dynamics within society, and they exhibit a certain amount of power both in their awareness, as well as in their discussions about how the men in their lives treat and perceive them. While they are victims, the women defy many norms and expectations, and hold considerable power, even in their deaths. Looking at how misogyny and masculinity function in the play, one can track how the women thus combat it and find power, despite it all. 

Misogyny is riddled throughout Othello , and the attitudes that men have towards women, both in the play and in society, are what Iago uses to manipulate Othello. Since Ancient Greece men carried out a belief that a “woman is just a cheat” and that women are “more malicious” and more “inclined to suspicion and plotting.” 1 While Iago’s main objective is to hurt Othello, his whole scheme relies on the lie that Desdemona is having an affair. The fact that Iago chooses this lie as the focal point is directly rooted in misogyny. The idea that a woman could be having an affair is not hard for the men to believe, considering all the centuries old rhetoric that paints women as malicious cheaters who are plotting against their husbands. Moreover, in act 2, Desdemona and Emilia directly face these misogynist ideas during playful banter with Iago, as he tells them: 

You are pictures out of 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. 2

Iago perpetuates the belief that women are liars and deceivers who make noise and disturb others. They live under a guise of innocence, while in actuality, they are harmful to everyone around them. Women are pretenders. They pretend to be housewives, acting like they are working in their homes, which they are not, while actually asserting control over their husbands in bed. They present themselves as “saints,” but are truly “devils.” In the eyes of Iago, women are masters of deception. This characterization of women as pretenders and deceivers with an ulterior motive, is prevalent throughout the play, and is arguably the main reason why Othello is so convinced Desdemona is having an affair with Cassio. In act 1, Brabantio even warns Othello, telling him to “look to [Desdemona],” for if she has “deceived her father,” she may also deceive him. 3 Desdemona’s own father upholds this belief that she is capable of deception and contributes to this characterization of women that is so central to the play. 

On top of the belief that women are deceivers is the idea that women are property. Seen as objects that exist to serve men, they are at the men’s disposal and are additionally given the responsibility to uphold the honor and reputation of the men around them. The play opens with these ideas, as Iago and Roderigo disrupt Brabantio in the middle of the night to tell him that Othello has married Desdemona. Iago shouts “thieves, thieves,” and directs him to “look to [his] daughter” and his “bags.” 4 He continues to tell Brabantio that he’s been “robbed,” as if Desdemona is a possession with no agency or thinking skills. Brabantio continues to diminish his own daughter’s ability to make decisions, saying how she must have been “corrupted by spells” and witchcraft. 5 While these accusations against Othello are racially motivated, they also support the idea that women are objects without any control over their decisions and can be “stolen” from the men who possess them. 6 Not to mention, women are expected to be virtuous and honorable, for if they don’t appear as such, it ruins the reputation of the men around them. Male characters who feel like their reputation is threatened, due to the actions of the women around them, appear in various plays by Shakespeare. Many of his male characters conclude that the only way to assure their reputation stays intact, is to assert control over the women, and treating them like objects and subordinates. When Desdemona elopes, without her father’s consent, that may affect Brabantio’s reputation. Considering the interracial aspect of their marriage, the fact that she also marries a Moor, may doubly impact Brabantio’s reputation. Although the marriage affects Desdemona foremost, it seems as if the men are more worried about themselves. They believe that if a woman has ruined her reputation, she’s better off dead than alive, for existing as a “ruined woman” can further tarnish the image and status of those around her. Othello presents a duality of misogynist views toward women. While on one hand they are deceptive and are out to trick and hurt men, they are also objects and possessions who are expected to be subdued and virtuous. However, these two sides of women work hand in hand, for it’s the fear of the deception that makes men assert control and keep them as objects. 

Understanding the misogyny embedded in Elizabethan society, as well as upheld by the characters of Othello, is important in understanding how Iago uses women as pawns in his scheme, and how Othello reacts to the accusations he believes are true. Because women are seen as objects and possessions, it’s not surprising that Iago uses them as tools in his plot to hurt Othello. They are weaponized when put into the center of Iago’s plot, and instead of being seen as people who will suffer from the accusations he sets forth, they are simply seen as pawns to get back at Othello. Iago’s motivations are never completely clear, but he has heard rumors that Othello has been “’twixt [his] sheets” and has “done [his] office,” meaning that he suspects that his wife, Emilia, and Othello have had an affair. 7 If this is one of the motivations behind Iago’s actions, it not only explains Iago’s misogynistic attitudes, but also shows how he’s not only trying to punish Othello for his actions, but also punish women in general for being deceitful. By framing Desdemona, Iago makes her bait, as he knows that Othello’s emphasis on honesty and his insecurities in an already questioned marriage, will push him to take that bait. 

In a way, Iago’s control over this narrative is an extension of men’s need for control over women. Control and dominance are common attributes of toxic masculinity, and his need for control, manipulative tendencies, and continuous mistreatment towards women aligns with these ideas of toxic masculinity. Iago shapes Desdemona’s false story and plants the seeds of doubt towards her in Othello’s mind. Additionally, Iago is using Emilia to get the handkerchief to show ocular proof of the affair. Emilia reveals that Iago has “bid” her “so often” to steal the handkerchief, but because Desdemona has dropped it, Emilia has taken it for her husband, now able to both please Iago and meet his requests, while not feeling guilty about stealing from her friend. 8 Emilia naively walks into this trap and helps Iago carry out his plot, because she wants to be an obedient wife who serves her husband. But Iago doesn’t see Desdemona or Emilia as people worthy of respect; he uses them as objects, especially exploiting Emilia’s trust in him, to his benefit. Furthermore, Othello’s traits of profound jealousy and anger prove toxic, as he spirals out of control and convinces himself the affair is truly real. He becomes so consumed with jealousy, insecurity, and the fear of becoming a cuckold, that he neglects to even give Desdemona a chance to defend herself. The possibility of becoming a cuckold threatens Othello’s masculinity, for it shows a certain weakness and lack of control over one’s wife. As previously mentioned, masculinity is associated with power and control, and at this time, having a subdued and virtuous wife was expected. This threat to his masculinity, power, position in the partnership, and reputation contributes to Othello’s response. He’s determined to “tear [Desdemona] to pieces” and is filled with “black vengeance” and “tyrannous hate.” 9 Resulting to violence as a solution is also a trait of toxic masculinity, and Othello sets out to kill Desdemona, reasoning that “she must die” or else “she’ll betray more men.” 10 Just as Iago is essentially punishing all women for their deceit, possibly because of his suspicions that Emilia was having an affair, Othello is set on killing Desdemona as a way to prevent more men from having their masculinity threatened. 

While many may read the play as characterizing the women as weak, it can be argued that the women are actually strong and powerful, despite being victims of the misogyny of their culture. Both Desdemona and Emilia are aware of how men treat women, and openly discuss the gender dynamics of the society they belong in. With this awareness comes power, for they’re not blind to the inequality and speak up against it when necessary. From the beginning of the play, Desdemona is characterized as a loyal, generous woman, who both stands up for her husband and actively works to help her friends. When Brabantio suggests she was coerced into the marriage with Othello, Desdemona tells him to his face that Othello is her husband and that she has a duty to him. With “so much duty [her] mother showed” Brabantio, “preferring [him] before her father,” Desdemona has the same duty to Othello. 11 In the context of this scene, it takes a powerful woman to speak up against her father in front of a room of men. She’s not weak nor demure, and is instead respectful, well-spoken, and loyal to her husband. Desdemona is also generous, and serves as an advocate for her friends, ensuring Cassio that she will do “all [her] abilities in [his] behalf” to help him get his position back, and vows to be his friend. 12 In this instance, she helps Iago’s plan move forward, but it still shows how she’s willing to defend and persistently help those in need. 

Both Emilia and Desdemona have various discussions about gender, which display their awareness about how men treat women in society. Emilia states that men are all “but stomachs, and [women] but food.” Men use women and “eat [them] hungrily,” but “when they are full,” they “belch [them]” up. 13 Emilia is not only describing how Iago is treating them, but also realizing that women are nothing but objects to men. Moreover, she’s explaining how men use women for their benefit, but when they are done, they dispose of them. Desdemona additionally mentions how “men’s natures wrangle” with “inferior things” and that we should not think that men are gods, or perfect people. 14 The women see the men for who they truly are, while the men view women in a fictitious light. Desdemona says this in defense of Othello, explaining how he’s only human and has flaws. At the same time, the women are both aware of how men use them, and how men see themselves as superior beings, and with this statement she’s taking men off their self-placed pedestal. However, being that this is a tragedy, we know that death must be the end result. If death is necessary, then, are Desdemona and Emilia’s deaths inevitable? If we view their characters as powerful, is it even possible for powerful women to find a happy ending in a misogynist society?

Desdemona and Emilia combat the misogyny they face by finding camaraderie and remaining loyal to each other. Emilia, in particular, presents various strong opinions about men and ruthlessly defends Desdemona’s honesty, speaking up against Othello’s accusations. Emilia “wager[s]” that Desdemona is “honest, chaste” and “true,” willing to “lay down [her] soul at the stake” on her friend’s innocence. 15 She is furious with the accusations set forth against her friend, stating how she is sure that an “eternal villain” has “devised this slander,” and declares that hell should “gnaw his bones,” for he has no right to “call [Desdemona] a whore.” 16 In addition, Emilia later states that she thinks it’s a “husband’s fault if wives do fall,” for they “slack their duties” and “breakout in peevish jealousies.” She continues and discusses how men “throw restraint” upon women, proclaiming that women “have galls” and that husbands should know that “their wives have sense like them.” 17 This is arguably one of the most combative and self-aware speeches against the misogyny demonstrated throughout the play. Emilia is aware that men view women as powerless, and she negates that false sentiment; women are just like men and have similar desires, urges, and capabilities. Moreover, if a woman does have an affair, Emilia blames it on the husband, for their need for complete control and dominance over their wives is too restraining. Before Emilia’s and Desdemona’s deaths, they do speak out on the injustices they faced. Desdemona states that she “never did offend” Othello nor loved Cassio, and Emilia speaks up against Iago’s trickery and exposing his “wicked lies” and villainy, declaring that she will not obey Iago any longer. 18 As a result of trying to expose his lies, she is murdered. Desdemona and Emilia are certainly powerful women, but are also victims of a misogynistic society, and victims of Iago’s scheme. 

Toxic masculinity and misogyny work hand in hand throughout Othello, and it’s evident that the views of women as deceptive and as objects in need of control contribute to the trajectory of the play. Analyzing how misogyny and masculinity function in the play is essential in understanding how the women exist within it. Although faced with direct misogyny, as well as being used as pawns in Iago’s scheme, the women prove to be powerful characters. Defying the expectations that women should only be silent, subdued, and obey their husbands, Emilia and Desdemona, at many times, speak out in their male-dominated atmosphere and have points where they resist these traits. Furthermore, they show a level of self-awareness through their conversations, and have a deep understanding about how misogyny is at play. While Iago’s scheme is largely responsible for their deaths, they both find power in speech, in conversation with each other, and die defending the truth. 

• Hesiod, Work and Days , Translated by Dorothea Wender, Penguin Random House (1976) ; Aristotle, The History of Animals : Complete Works of Aristotle, Volume 1: The Revised Oxford Translation, Translated by Jonathan Barnes, Bollingen Series, Princeton University.
• William Shakespeare, Othello , act 2, scene 1, 109-112.
• Shakespeare, Othello ,1.3.292-3.
• Shakespeare, Othello , 1.1.78-80.
• Shakespeare, Othello , 1.3.61-3.
• Shakespeare, Othello , 1.360.
• Shakespeare, Othello , 2.1.379-80.
• Shakespeare, Othello , 3.3.309.
• Shakespeare, Othello , 3.3. 431, 447-9.
• Shakespeare, Othello , 5.2.6.
• Shakespeare, Othello , 1.3.185-9.
• Shakespeare, Othello , 3.3.2.
• Shakespeare, Othello ,3.4.102-105.
• Shakespeare, Othello , 3.4.142-3, 147.
• Shakespeare, Othello , 4.2.12-19.
• Shakespeare, Othello , 4.2.130-3, 136-7.
• Shakespeare, Othello , 4.3.85-104.
• Shakespeare, Othello , 5.2.58-9, 182.

Jackie Chirco (BA ’22) originally wrote “ Gender Conflict in Othello : How Women Find Power in a Misogynist Society” in Bella Mirabella ‘s Spring 2021 Interdisciplinary Seminar “ Shakespeare and the London Theatre .”

Thumbnail image: “ Othello , Act 3 Scene 4: Othello and Desdemona ” (1845), Kenny Meadows, Drawing and Prints, The British Museum ( CC BY-NC-SA 4.0 ).

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Thursday, December 10, 2009

The role of women in othello: a feminist reading, writer's profile.

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WOMEN IN OTHELLO.

In Shakespeare’s time, women did not enjoy the same freedoms that they do today. This was a time of strict social hierarchies and stringent rules about how women should behave in the home and in public. Because women were responsible for maintaining the ‘honour’ of their families (particularly amongst the upper classes), there was a great deal of anxiety about how they behaved in public and in private.

Society was patriarchal; in other words, men ran all of the institutions and were considered the heads of households. The rules that applied to women concerned their conduct in a variety of situations: they should not go anywhere unescorted (this is particularly true for elite women like Desdemona in Renaissance Venice); they should not wear sexually provocative clothing or makeup; they should not speak very often, and certainly not about matters of state or important issues that only men would be able to discuss; they should remain chaste, keeping their virginity intact until marriage; and they should obey their husbands and fathers in all things. This last rule is why it is such a shock that Desdemona has had a clandestine marriage.

Once a woman is married she has more rules to follow – she especially needs to be submissive to her husband and faithful to him or she could be branded a whore. Women were warned in conduct books and in sermons preached each Sunday that if they misbehaved, they would be committing a sin. In A Sermon of whoredom and Uncleaness against adultery in 1547, the preacher tells women if they commit ‘fornication’, ‘adultery’ or any ‘unclean’ act, they would be going against ‘God’s commandment’ and would ‘abuse the gentleness and humanity’ of her husband. If a woman, married or not, is accused of being unchaste and labelled a ‘whore’, it could mean the downfall of her family in society, and the ruin of her future. It was a serious and dangerous accusation and, in this period, women were guilty until proven innocent.

Othello is a play that asks us to examine the position of women in society, since it explores issues such as: clandestine marriage, accusations of adultery, and it includes three different social classes of women. Desdemona is from a noble or ‘patrician’ family in Venice and therefore would have the least amount of freedom; her behaviour would have been watched carefully and she would not have been allowed to go out in public without her gentlewoman. When Brabantio hears Desdemona is with Othello he cries ‘How got she out?’ – a reflection of the close supervision women of her class endured. Emilia is a gentlewoman who may be of either the upper or middle class, but she is not as elite as a Patrician. Emilia is bold; she actually voices the unfair rules that apply to women but not to men and she voices the need for equality between the sexes:

‘Why, we have galls, and though we have some grace, Yet have we some revenge. Let husbands know Their wives have sense like them:

they see and smell And have their palates both for sweet and sour, As husbands have.’ (4.3.89-93)

Is Emilia right? Yes, it is true, men and women are not that different and perhaps women should behave as badly as they do, because that’s what they have been taught:

‘The ills we do, their ills instruct us so’ (4.3.100).

Bianca is the third woman in the play. She is a courtesan in Cyprus. Courtesans were prostitutes and in Venice as well as Cyprus during the renaissance period, they were known to be quite educated, skilled at various trades (including embroidery, as we learn when Cassio asks Bianca to ‘take out the work’ – or copy the embroidery in the famous handkerchief,) and, oddly enough, courtesans had some independence and freedom even though they were at the lower end of the social scale.

The language in the play paints women as either virtuous and pure or as adulterous and sexually corrupt. There seems to be little compromise between these two statuses and this is frustrating for young women who read and see this play performed in the twenty-first century. Our perception of Desdemona is partly created by the poetic language that some characters use to describe her. In Act 2, scene 2, Cassio, for example, refers to Othello’s new wife as ‘a maid/That paragons description and wild fame’; that she ‘excels the quirks of blazoning pens’- which means she is more beautiful and virtuous than poets are able to describe. He later concludes his tribute to her by referring to her as ‘The divine Desdemona’, giving her the same status as a goddess. By equating her with a goddess, Cassio creates an ideal that seems impossible for a woman to actually live up to: it’s a bit like seventeenth-century airbrushing.

Once the ideal has been established in the mind of the audience, lago then begins to slowly chip away at it and changes Othello’s perception of Desdemona. We see how her reputation gets soiled through the language lago uses to talk about women more generally: ‘In Venice, they do let God see the pranks/They dare not show their husbands. Their best conscience/ls not to leave’t undone, but keep’t unknown’ (3.3.205-206.). Here lago tells Othello that the women in Venice are deceptive and they hide loose behaviour from their husbands. In the next moment, he takes his first dig at Desdemona: ‘She did deceive her father marrying you’ (3.3.209), reminding Othello that Desdemona married him secretly, without her father’s permission. lago uses language to manipulate Othello into a state of doubt about his wife’s faithfulness. He basically calls her a ‘whore’ and Othello later does so as well. In fact, the word ‘whore’ is used more in this play than in any other Shakespeare play – over 13 times.

Disturbingly, Othello goes back to using poetic language when he sees Desdemona sleeping just before he is about to murder her: ‘I’ll not shed her blood,/Nor scar that whiter skin of hers than snow,/And smooth as monumental alabaster (5.2.3-5). Here he admires and idealises her white skin, highlighting the beauty ideal of the renaissance: pale and glistening (like alabaster). This is a very common way of describing women’s beauty in renaissance love poetry. But why does Othello do this here? Why in the moments before he is about to kill her? If he admires her beauty and loves her so much, why does he kill her?

He must kill her because it has been determined that she is a ‘whore’ and has dishonoured him and his family; in sixteenth century Renaissance culture, women may not have always been condemned to die under such circumstances, but they would be sent away to a convent, or spend their lives as spinsters because their honour was in question. The families of such women would be ridiculed and sometimes socially as well as financially ruined. Bianca (whose name very ironically means ‘white’ – a colour associated with purity and virginity) is a prostitute or ‘whore’, but the only fate she suffers is heartbreak, since she appears to love Cassio quite genuinely.

What might Shakespeare be trying to say in this play about women in his time? Perhaps he wants us to pity Desdemona, who is brutally murdered for something she did not do. But Shakespeare’s original audiences may not have been as sympathetic to someone who married someone without her father’s consent. And why is Bianca, a prostitute, presented to us as a sympathetic character -she loves Cassio and is distraught when he is wounded? What are we to make of Emilia? Is she the strong voice of womanhood, the loyal servant who dies telling the truth, defending her mistress’s honour but disobeying her husband? The answer to these questions might be that Shakespeare is suggesting women do not fit easily into the categories created by Renaissance patriarchy, that they are human, and changeable and sometimes more noble and honourable, regardless of their sexual behaviour, than the men who try to control them.

Dr. Farah Karim-Cooper Head of Higher Education & Research, Shakespeare’s Globe

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Women Characterisation and the Dynamics of Gender in Othello

Related Papers

LITINFINITE JOURNAL

Sneha Chakraborty

ESTHER BAUTISTA NARANJO

Born as an adjunct to the political movement, feminism in literature explores those elements that convey the idea of female alienation under the ties of a patriarchal society. As they explore the depths of human passions, William Shakespeare’s tragedies Othello (1603) and Macbeth (1606) can be considered manifestations of socially constructed genre. They reflect two different ways of addressing the feminist issue, but, as they both describe the women’s downfall, they portray the everlasting unsuccessful attempts of women to triumph over a predominantly male-controlled environment. This paper is aimed at unveiling the feminist evidence underlying in the depiction of female characters. In Othello, Desdemona, the female protagonist, undergoes a peculiar fall from grace based on male Machiavellian plotting. Whereas in the beginning she is praised by her obedient nature and devotion to her husband, in the end she is fiercely condemned by a sin which she has not committed. But, is she really portrayed as a victim? In Macbeth, the protagonists live on the terms of equals, but, when they are lured to commit a crime by demonic equivocation, Lady Macbeth assumes a male attitude and encourages her husband to take action. They become partners in crime, but it is Lady Macbeth who plays a determining role in their macabre quest for power. Becoming the queen, the decay comes from remorse which arouses during sleep time and leads her to madness. But, is she depicted as the authentic villain of the story? These two plays debate on the nature of virtue as an ethical concept. The female characters and elements in these plays reveal the tragic fate of two women who respectively represent the good and evil sides of human behaviour. By accepting her unfair death stoically, Desdemona keeps her honesty until the end, but, above all, she maintains her female honour and dignity. Lady Macbeth’s ambitions surpass the limits of human ethics. However, on the spur of her insanity, she confesses her crimes before committing suicide and reaching self-redemption. Both female characters conform to two stereotyped images of women. On the one hand, Desdemona portrays the loving wife who passively assumes the male superiority. On the other hand, Lady Macbeth represents the female associated to witchcraft and supernatural elements, who casts off her womanhood and plays a determining role in a patriarchal environment to achieve her purposes. However, they share the same tragic destiny. Although they represent two different poles of behaviour, still they portray the female alienation and the feminist struggle to reach equality in Ancient times, which is still valid nowadays. KEY WORDS: FEMINISM, PATRIARCHAL SOCIETY, FEMALE STEREOTYPES, ETHICS, EQUALITY.

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Both sexism and racism, two dominant concepts of the twentieth century, are central themes in many of Shakespeare's plays. In William Shakespeare's play The Tragedy of Othello, The Moor of Venice, the character of Othello is used as the target of prejudice, and his wife, Desdemona, is the victim of bigotry. Shakespeare makes fun of Elizabethan society's belief that Black and White relationships are arranged by the devil and also raises the possibility that mixed-race marriages would result in mixed-race offspring. Shakespeare lived in a patriarchal society where fathers and men held control over one another, with women serving primarily as a means of exchange. Gender connections, family structures, and marriage and courtship traditions are all important topics in feminist criticism. Feminist interest often focuses on Prospero's dominant role as the parent in The Tempest as well as Ferdinand and Miranda's engagement and subsequent marriage when they declare their love for one another in front of Miranda's father as a witness.

SMART M O V E S J O U R N A L IJELLH

Abstract: Women across historical, social and religious boundaries have been pitted against the asphyxiating patriarchal norms and rigid cultural constructs which bestow power, dominance and freedom on man, and push her into the margins of both, society and domestic space. The current paper attempts to explore the mechanics of domestic violence, and its treatment in William Shakespeare’s Othello. The aim is to ascertain how the playwright addresses the issue of crime against women within the familial and social world of his times. Based on the theme of power politics within domestic hierarchy, the play not only lays bare a grim picture of domestic abuse and violence against women in matrimony, but also offers an insight into the psyche of abusers. The dialectics of power struggle in the play written in the 16th century is a reflection of the playwright’s sensitivity towards the existential reality of women of his times and his negation of male hegemony and criminal violence in conjugal relations. . Vishal Bhardwaj adopted Othello to make the film Omkara in 2006. Bringing the 17th century Elizabethan society in the 21st century Indian setting, Bhardwaj deftly pointed out the present scenario. There are numerous cases of a father’s restriction on daughter’s freedom of choice, brother’s threat to the sister for not to disgrace their family apart from ‘honour killing’. This continues even in the household of her ‘soul mate’ for whom she dares to defy every challenge. The predicament of modern Desdemona’s in the hand of Othello bears the testimony of Shakespeare’s immortal creation and its never ending relevance. The universality of Shakespeare is still rejoiced due to his experiment on the core region of the human psyche which fails to alter even with high-tech service or ‘progressive’ education. Key Word: power politics,violence matrimony, domestic heirarchy, male hegemony

An analysis of Shakespeare's Othello using feminist literary theory.

Marybeth McDonough

Kristina Trajanovska

Jesus Lopez-Pelaez Casellas

Sadman Ishraq77

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A Level Study Notes and Revision Guides

Othello: a level york notes, william shakespeare, love and relationships, progress booster: gender and power.

It’s important that you can discuss how power is a key factor in all the relationships portrayed. To begin with we are presented with a picture of powerful womanhood: Desdemona has deceived her father and asserted her independence from patriarchy by choosing her own husband. The example set by Desdemona shows that male–female relationships are the focus of conflict in this play; they are about opposition and power. Throughout the play we see further power struggles between couples and friends: Iago competes with Desdemona for Othello’s ear; Desdemona and Emilia defend themselves against their husbands’ suspicions; Bianca tries to assert her rights as Cassio’s mistress. The women lose these power struggles. By the end of the play all the female characters are silenced, their fragile power negated. That they ever had any power is debatable. They are only ever seen in relation to the male characters, who have the power to describe, define and kill them.

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Gender Roles and Sexual Politics in Othello Bre Kidman

In “Women and Men in Othello: ‘what should such a fool/Do with so good a woman?’,” critic Carol Thomas Neely asserts that nearly all rational thought in Othello comes from women. In Neely’s view, the men of Othello are too consumed by pride, jealousy, and socio-political pressure to think clearly and, as a result, resort to rash behavior and “destroy the women who make fools of them” (142) in order to preserve their sense of honor. While Neely may be correct here, her argument that the women of Othello are entirely sensible is not a strong one. If these women were fully rational, they would be concerned with self-preservation and might not meet such tragic ends. Instead, the females remain passive and allow the hot-headed men to do most of the fighting in the battle of the sexes that is William Shakespeare’s Othello. This paper examines the development and outcomes of that battle.

One example of Othello’s sexual politics has to do with double standards. The men of Othello are exempt from the traits highly valued in women, such as Desdemona’s purity and devotion. While Desdemona’s purity is “blackened” by her undying love for Othello (Adelman 126), Othello’s masculinity and reputation as something of a Casanova earn him respect...

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English literature essays.

• Shakespeare: Shakespeare's Women

Shakespeare, it is claimed by many modern critics, was a feminist. Shapiro for example goes so far as to claim that Shakespeare was 'the noblest feminist of them all'. Although I am inclined to agree with McLuskie that as Shakespeare 'wrote for a male entertainment', it is historically incorrect to regard him as a feminist. I believe that Shakespeare because of his extraordinary genius for portraying human behaviour, necessarily depicted the condition of women within a patriarchal system and created women characters which in their richness, transcend the limitations of his time.

In this essay I will explore chiefly Shakespeare's treatment of the three heroine's Ophelia, Desdemona and Cleopatra, of the tragedies Hamlet, Othello and Antony and Cleopatra , beginning with an exploration of Shakespeare's representation of the effects of a patriarchal system upon the characters.

Ophelia, it would seem, wholly at the mercy of the male figures within her life, is certainly a victim figure. Although it has been claimed by critics that Hamlet is unique amongst Shakespeare's tragic heroes for not being to blame for the tragedy of the play, if we are to consider the death of the heroine as part of this tragedy then surely we must question Hamlet's innocence. In his treatment of Ophelia, Hamlet oscillates between protests of undying love and cruelty such as his cold and accusing speech in the 'nunnery scene'. In short, Hamlet throughout the play uses Ophelia as a tool in his revenge plan.

To examine this culpability more deeply however, it could be suggested that it is Queen Gertrude's behaviour that has instigated Hamlet's unforgivable treatment of Ophelia: She transgresses the patriarchal bounds of femininity by marrying so soon after her husband's death and not remaining in passive grief and obedient devotion to his memory. This provides Hamlet with a model of women's inconstancy. His bitterness leads him to believe that all women are untrustworthy - 'Frailty thy name is woman' and as R. S. White puts it, Hamlet projects upon Ophelia the 'guilt and pollution' he believes exist in Gertrude's behaviour. However we view his culpability, Ophelia suffers as a result of Hamlet's patriarchal values of womanhood.

With regard to her father and brother, the two direct ruling male forces in her life, Ophelia is also very much a victim. Unquestioningly obeying their remonstrances against pursuing a relationship with Hamlet, she rejects his advances - which of course she believes to be genuine - and thus when he pretends to be mad she believes it to be her fault. Her speech reflects her deep and genuine sorrow:

Ophelia's feeling of guilt is reinforced by Polonius's insistence to King Claudius:

Polonius's conviction, in which one can't help believing, stems from a mercenary desire to marry his daughter off to such an eligible husband as the prince of Denmark, rather than a genuine belief in his daughter's role in causing Hamlet's madness.

Thus when Hamlet murders her father, Ophelia enters a double realm of guilt, believing herself to be to blame for both Hamlet's madness and her father's death. As a result she becomes mad. Although at one level this decline into madness sets Ophelia up indisputably as a victim figure, on a deeper level perhaps her madness itself can be seen as Ophelia's active rejection of patriarchal restraint. Charney Maurice suggests that since within Renaissance drama madwomen were 'more strongly defined than madmen', and women's madness was 'interpreted as something specifically feminine', through depictions of madness dramatists were able to give women a chance to express their selfhood - 'make a forceful assertion of their being' - in a way which patriarchal conventions would otherwise have prevented.

In the later tragedy, Othello , it can also be argued that the tragedy occurs from adherence to patriarchal rules and stereotypes. Gayle Greene summarises this position in her claim that the tragedy of Othello stems from 'men's misunderstandings of women and women's inability to protect themselves from society's conception of them'. Certainly Desdemona's very much feminised qualities of passivity, softness and obedience are no match for Othello's masculine qualities of dominance, aggression and authority. After Othello in his jealousy has struck Desdemona and spoken harshly to her, she tells Iago, 'I am a child to chiding'. Protected by a system which makes women the weaker, dependent sex, Desdemona is unequipped to deal with such aggression; she is helpless against Othello. As Dreher puts it 'following conventional patterns of behaviour for wives and daughters, these women lose their autonomy and intimacy and do not achieve adulthood'. Desdemona thus retreats into childlike behaviour to escape from reality.

With regard to men's misunderstandings of women, Greene points out that Iago's manipulation of Othello - the cause of the tragedy - occurs only because of 'the views of women the moor already possessed'. This is certainly a convincing argument, for Othello all-too-easily accepts a stereotypical view of his wife based on the authority of a male voice. He loses sight of the real Desdemona, allowing every action of hers, once his suspicion is stimulated, to reaffirm this stereotypical conception of her.

At the close of the play Othello attempts to vindicate himself from intentional murder by claiming that he did nothing 'in malice', but is simply a man 'that loved not wisely but too well'. This speech illustrates the precarious position of love in a society submerged in stereotypes. Othello's excessive, 'unwise' love for Desdemona is tied up with his perception of her as representing perfect womanhood, and his underlying fear of her - endorsed by society - as whore. Like Hamlet, who tells Ophelia 'get thee to a nunnery' in order to protect her chastity and remove his fear of woman's infidelity, Othello too wishes to erase Desdemona's sexuality and potential for infidelity. His decision to kill her, he claims, is to prevent her from a further transgression - 'Yet she must die, else she'll betray more men'. As Iago's insinuations build, the gulf between this perception of Desdemona as angel and the fear of her as whore grows, leaving Othello in a void of confusion and doubt:

In Othello's refusal to hear Desdemona's own protestations of innocence, Othello is very much a tragedy in which the female is subordinated by the male.

In Antony and Cleopatra , Shakespeare again explores the idea of the victim within a patriarchal society. However, in this play the gender roles are inverted and it is Antony who is the true victim. Stifled by the rules of the patriarchal society of Rome which expects him to retain a masculine side only, and not to adopt the feminine qualities of passion, emotion, and love, Antony's control over his life diminishes. Within such patriarchal confines the role of lover must be subordinate to the male's political role. After finding an extraordinary and powerful love with Cleopatra - which Shakespeare establishes to perfection - Antony is unable to accept the 'business first' principle of the patriarchal laws. Like the typical female heroine of a tragedy, Antony's plight escalates when he is rushed into an arranged marriage of convenience. He cannot remain away from Cleopatra and faithful to Octavia who symbolises Caesar and the power of Patriarchal Rome. He says 'though I make this marriage for my peace,/ I'th' East my pleasure lies'. Inevitably he returns to Egypt and Cleopatra, and causes a rift which can never again be cemented between himself and Caesar, which ultimately results in war.

The first words of the play, spoken by Philo, illustrate the growing condemnation of Antony's untraditional behaviour, which is not confined within the 'measure' of patriarchy: 'Nay but this dotage of our General's / O'erflows the measure'. The patriarchal males view Antony's devotion as shameful - 'His captain's heart ... become the bellows and the fan / To cool a gipsy's lust'. Surprisingly, in modern-day readings of the play, this attitude still exists: in W. Baker's view of the play - in my opinion a view grossly over simplified - 'throughout the play [Antony] is suffering from a disease, his passion for Cleopatra, which obsesses his mind and which causes him to desert his public responsibilities'. It is true that the play is ultimately concerned with the conflict between love and politics; Egypt and Rome; but to simply reject the former as wrong, is to miss the nuances of the play and succumb to a view of the polarities of masculine and feminine as separated and distinct, which the play itself undercuts.

Although Antony occasionally lapses into judging himself by the standards of the patriarchy - for example, towards the end of the play dejected and shamed by his diminished political power, he becomes jealous and irrational and claims that Cleopatra has emasculated him: 'O thy vile lady, / She has robbed me of my sword.' In the conflict between love and politics - love wins. Ultimately, Antony is not debased by his loss of power, but rather, through his love of Cleopatra envelops a manhood of stronger parameters - an 'alternative masculinity' as Woodbridge puts it. The end of the play can be seen as a tribute to love; a celebration rather than a downfall. Antony does not cease to be a valiant Roman by choosing Egypt over Rome; love over politics, but becomes vanquisher of himself in his suicide. By dying simultaneously in the Roman fashion, and with Cleopatra and for Cleopatra (he kills himself when he believes she is dead), Antony combines the two polarities which have been evident and separate throughout the play: the masculine Rome and the feminine Egypt.

Cleopatra's masculine qualities counterbalance the play, so Shakespeare provides us with a relationship of surprising equality. Neither Cleopatra nor the relationship can be stifled within the confines of the patriarchy of the seventeenth century. The distinctions between masculine and feminine are blurred - in a sense Antony and Cleopatra swap roles, continually embracing both their masculine and feminine selves and thus experiencing a full bonding of souls. As Woodbridge says, 'Antony and Cleopatra can cross gender boundaries without losing their sex roles as man or woman'. This swapping of gender roles is rather shockingly portrayed in the scene in which Cleopatra puts her 'tires and mantles on [Antony] whilst / [she] wore his sword Phillipan'. Shakespeare evidently recognises the existence of both masculine and feminine qualities within females and males.

Cleopatra, unlike Othello and Ophelia, is the dominating force of the play in terms of theme and also her personal presence. Novy claims that Antony and Cleopatra is the only tragedy that 'glorifies woman as actor'. Through his treatment of Cleopatra, Shakespeare provides us with a 'real' woman rather than a stereotype. Velma Richmond claims further that in Cleopatra we can find Shakespeare's 'finest embracing of the feminine'. Cleopatra through the combination of sexual and political power is a force to be reckoned with.

Cleopatra's sexuality, despite condemnation by the patriarchal men - she is referred to as 'strumpet' and 'whore' on various occasions throughout the play - is unhidden and unrestricted. Her sexual power over men is conveyed boldly, for example, in her descriptions of her former conquests 'great Pompey' and 'Broad-fronted Caesar'. Cleopatra's sexuality is not a thing to be locked up, as in Hamlet and Othello , but is celebrated as a positive force. Surprisingly, even Enobarbus, despite his patriarchal views, does on occasions present her as positively sexual, as his unforgettable description of her indicates:

Refusing to adhere to the stereotypes of patriarchal society, Cleopatra transforms her natural sexuality into part of her power, rather than as a diminishing of her goodness.

So too, Cleopatra insists on fulfilling a political role against the wishes of the patriarchal men: when Enobarbus attempts to prevent her from doing so she replies in enraged determination:

Cleopatra thus forces her access into the male arena, where Ophelia and Desdemona do not - and cannot of course, in the same way, for in her status as a middle aged woman and Queen of Egypt, Cleopatra naturally has more freedom. She is not dependent upon anyone financially, as are Ophelia and Desdemona.

Ophelia, the dominated daughter, is completely dependent. Although a flash of her potential self-will shines through at the beginning of the play, when we learn that Ophelia has entertained Hamlet unchaperoned or without paternal consent, this is stifled very quickly by Polonius and Laertes - the double voice of the patriarchy - telling her that she is naive and that her behaviour is unsuitable. Ophelia, daunted by their claims that she has mistaken Hamlet's love, assumes that her father and brother necessarily know best and replies simply 'I will obey'. Shakespeare shows, however, that it is this obedience of Ophelia's that leads to her own destruction, and illustrates that when the guiding male is like the cynical Polonius or the unperceptive Laertes, the fate of the subordinate female is considerably threatened.

While Ophelia then, silently and obediently accepts the oppression of male power, turning her distress in upon herself in her madness, Desdemona does display some traces of a more Cleopatra-like self-assertion. In her choosing of Othello as her husband, she exercises her own desire, subverting the female role of passivity within the patriarch, and marries him without parental consent. This is a rather courageous act of will, which could have resulted in much strife. However, she handles the situation with a cleverness and a manipulation which outwits the male judges who listen to her. When her father questions her about her marriage she answers forcefully, first pacifying him and then justifying her disobedience on the very grounds of patriarchal obedience and duty:

Desdemona by her cleverness thus appears obedient in her disobedience.

Shakespeare shows Desdemona's behaviour in her relationship with Othello before the marriage to be slightly manipulative also. For Desdemona tells Othello in a very suggestive way after she has fallen in love with him, as Othello himself relates - 'if I had a friend that loved [me]/ I should but teach him how to tell [your] story,/ And that would woo [me]'. However, when she is married she slips into the role of the submissive wife. Obedient to Othello's every command, she says to Emilia - after Othello tells her peremptorily 'Get you to bed on th'instant' - 'we must not now displease him'. At this point Desdemona becomes more of a stereotype, her identity disappearing as Othello's jealousy becomes more defined. Her identity diminishes until she fits into the stereotype of the silent woman. Othello denies her right to a voice when he soliloquises 'Was this fair paper, this most goodly book,/ Made to write 'whore' upon?'

Obedience and silence were very much part of the patriarchal conception of femininity. A conception to which Cleopatra refuses to adhere. When Charmian traditionally suggests that the way to gain and retain Antony's love is to 'In each thing give him way; Cross him in nothing'. Cleopatra replies, 'Thou teachest like a fool, the way to lose him'. Far from being the silent woman, Cleopatra makes her voice heard whenever she wishes, challenging and meeting challenges. She mocks Antony and quarrels with him. Challenging him with a masculine aggression when they argue - 'I would I had thine inches. Thou shouldst know/ There were a heart in Egypt'. Spirited and passionate, such displays of assertion as her physical attack on the messenger informing her of Antony's marriage to Octavia, are a far cry from the passive silent role of the feminine in patriarchal society. In passionate disbelief and anger, she draws a knife on the messenger and strikes him with her bare hands. Charmian tries to pacify her by telling her 'Good madam keep yourself within yourself', but Cleopatra escapes the bounds of self-composure and the repression of self-hood. Her reaction when she feels herself wronged is in very stark contrast to the reactions of Ophelia and Desdemona.

Linda Baber explains that the relative weakness of the characters of Desdemona and Ophelia is due to artistic device, as opposed to Shakespeare's misrepresentation of womanhood. Baber claims that they are 'psychologically neutral characters who take on the coloration of the plays' moods'. Thus, their personalities are not fully developed. James Hill similarly says of the heroines of the tragedies that we are not shown 'their inner lives' or their 'inner conflicts'. However, in the case of Desdemona, I think it is a mistake not to recognise her as an active force within the play. As Brian Shaffer suggests Othello's punishment of Desdemona becomes the crime itself, subverting the domestic tragedy of the Elizabethan stage. These tragedies traditionally involve the process of marriage; 'disintegration' and then punishment and death. The conception of woman's inferiority to man in these tragedies is undercut by Shakespeare for he shows Desdemona to be the virtuous character who is finally vindicated.

Desdemona's goodness furthermore is not simply passive or weak but an act of will. Her refusal to blame Othello for his terrible treatment of her, when he suspects her of betrayal, must not be viewed as simple subservience but as a self-willed refusal to accept a bad opinion of the husband she has chosen. When he is behaving deplorably towards her she refuses to acknowledge his identity - 'My lord is not my lord,' she says 'nor should I know him / Were he in favour as in humour altered'. She stands by her acceptance of her love for him as something sacred, with a martyr-like determination: she tells Emilia 'his unkindness may defeat my life, / But never taint my love.' She thus obeys her own heart rather than patriarchal rules, extending this determination through to death, so that with her last breath - when Emilia asks 'who hath done this deed?' she can reply 'Nobody, I myself'. Othello's conviction that even upon dying she lies by claiming this self-death bears witness to the whole tragedy of the play, Othello's inability to see beneath the surface of stereotypical conceptions of femininity. By claiming this death for herself she re-affirms her self-hood. Metaphorically then she dies for her love which cannot be tainted, not from Othello's hands. In Hamlet too, Ophelia's death can perhaps be seen as an act of assertion and escape from the confining patriarchal world.

Unsurprisingly though, it is through the character of Cleopatra that Shakespeare really depicts death as an assertion of self-hood and an act of defiance to the patriarchal laws. Cleopatra's death becomes an act of triumph over Caesar - the representative of patriarchal Rome. On finding her dead, one of his guards says, 'Caesar's beguiled'. Through death Cleopatra not only transcends the world of oppression and fate, but embraces her death as a positive act rather than as an act of negation:

Cleopatra combines feminine and masculine qualities through her death. With her resolution to take on the masculine quality of rationality and firmness and courage she wills, 'I have nothing of woman in me. Now from head to foot/ I am marble constant'. She rejects her feminine qualities of water and the changeability of the moon and transforms herself into 'air and fire'. So too she embraces Antony's masculinity and the world of Rome by dying in 'the true Roman Fashion'. Yet through her death, Shakespeare depicts her as enacting the strength of womanhood by converting death into an image of both sensuality and motherhood. The pain of death is bitter-sweet and sensual 'as a lover's pinch,/which hurts and is desired' and the asp, the vehicle of death is a 'baby at [her] breast,/That sucks the nurse asleep'. Through death she is reborn and even the stern patriarchal Caesar is forced to admit to her bravery, and to the undeniable nobility and royalty of the woman who 'Took her own way'. Through his representation of womanhood, especially in the character of Cleopatra, Shakespeare indeed does transcend the stereotypes of his own time.

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Home — Essay Samples — Literature — Othello — Sexual Politics and Gender Discourse in Othello

Sexual Politics and Gender Discourse in Othello

• Categories: Othello

About this sample

Words: 1009 |

Published: Jun 29, 2018

Words: 1009 | Pages: 2 | 6 min read

Works Cited

• Adelman, Janet. “Iago’s Alter Ego: Race as Projection in Othello.” Shakespeare Quarterly, Vol. 48, No. 2. (Summer, 1997), pp. 125-144.
• Julia Genster. “Lieutenancy, Standing in, and Othello.” ELH, Vol. 57, No. 4. (Winter, 1990), pp. 785-809.
• Neely, Carol Thomas. “Women and Men in Othello: 'What should such a fool/Do with so good a woman?'” Shakespeare Studies; 1977, Vol. 10, p133, 26p
• Pitt, Angela. Shakespeare’s Women. Totowa, New Jersey: Barnes & Noble Books, 1981.
• Shakespeare, William. Othello. New York, New York: Washington Square Press, 1993.

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Representation of Gender Within Shakespeare's Othello

Women are always victims because it is men who determine social organisation. Considers the ways in which the representation of men and women in Othello supports or challenges this assumption.

{?Women are always victims because it is men who determine social organisation.? Consider the ways in which the representation of men and women in Othello supports or challenges this assumption.} Shakespeare's tragic masterpiece Othello contains many complex layers and issues that can be found by reading deeply into the play, and not simply reading it as a simple narrative. One such issue that is important in the play is how the women are portrayed as victims due to men determining social organisation. This conception is supported throughout the play through the representation of men and women. The play is divided into two distinct sections, Venice which is a site of order and the island of Cyprus a site of disorder and anarchy. Both settings allow for demeaning portrayal of women and their position within the patriarchal society of the day showing that social conditioning in the men's favour turn them into victims. Venice at the time was a bustling trade centre of the world in many differing commodities including women. From what is shown of Venice, it seems that a woman was designated as a prize or a asset to her husband (owner). This is demonstrated by Iago commenting in regard to Othello ?tonigh he heath boarded a land carrack If it prove a lawful prize, he?s made for ever?, this demonstrates Iago?s conception that firstly Othello is a pirate turk, and also that he has captured treasure of Desdemona, making it seem like love is a second wheel to the actual possession of a wife and the the extra power it conveys on him. In the court of the Duke of Venice the male characters have a extensive colloquy that does to a great extent objectify the character of Desdemona. The male characters showing their contempt for females in general, and treating Desdemona in her presence and absence as a object that is able to be possessed really displays the prominence of the marginalisation of women. Brabantio and also Othello are paramount in the ?trading? of Desdemona, Othello says ?For such proceedings I am charged withal - I won his daughter? (Act 1, Sc 3, 93-94). This shows that even Othello who is portrayed as a noble and good man, sympathises with the idea of women being property, having ?won? Desdemona. Brabantio is also of the idea that Desdemona is his property as is displayed by him expousing ?She is abused, stol?n from me, and corrupted? (Act 1, Sc 3, 60) as if she is a inanimate object. The victimisation of woman is also very clearly seen through what Desdemona utters in Scene three. Desdemona says when asked where she owes her ?obedience?; ?My noble father, I do perceive here a divided duty: To you I am bound for life and education; My life and education both do learn me How to respect you; you are the lord of duty,? I am hitherto your daughter: but here's my husband; And so much duty as my mother show'd To you, preferring you before her father, So much I challenge that I may profess Due to the Moor, my lord. ? This very submissive speech shows that Desdemona realises her postion within society and is a victim of harsh social conditioning giving her inferior status and minimal outlet for any of her own feeling or emotions because of the male dominance. Sexual promiscuity is a central issue within the play, giving rise to much angst on the part of Othello and also the women of the play. The social conditioning of the Venetian and Cyprus societys asserted the sexual dominance of men. As is often the case also in modern society, men are placed as the active and primary initiator of sexual exertions. Women who attempt to or do initiate sexual contact are often labelled in derogatory terms, or are labelled in these terms if their actions or opinions do not meet the social conditioning that is befitted females. This occurrence is especially evident in the second setting of Othello, the island of Cyprus. The island of Cyprus is a setting of disorder and a place with social conditioning that is even more oppressive of woman. In the first scene in Cyprus, Iago whom has perhaps the most misogynist attitude says to Desdemona and Emilia ?You rise to play, and go to bed to work.?(Act 2, Sc 1, 114). This shows that even women who have husbands and fathers in powerful positions are still considered by Iago to be prostitutes and objects. Throughout the play Iago is the most uncouth and misogynist in terms of women in both Venice and Cyprus. He says to his wife ?A good wench! Give it to me? when she has Desdemona's handkerchief for him, and is party to speculation regarding whether Bianca a prostitute while he is in Cyprus. And before in ordered Venice his mouth is also foul, telling Brabantio in detail among other things that that his ?an old black ram is tupping your white ewe? (Act 1, Sc 1, 90) a image with quite bestial connotations. There is no change in Iago?s conception of women between settings, this shows that his idea of the social standing of women stays at the same low level and his treatment and opinions of women cause them to become victims. The lack of representation that is given to women in ?Othello? is a potent illustration of the victimisation and marginalisation of women. Throughout the play there is only three main female characters, compared with scores of male characters. Within the male cast list there is characters such as messengers, soldiers and sailors who have very little impact if any on the story and development of the plot and theme. If these male characters that have little impact on the story are introduced, then the wives of important male characters such as Brabantio should also be introduced. The minor female characters being omitted shows very clearly to the audience that because of the social climate that the play is set in, women who are related to important male characters are considered secondary to insignificant male characters such as a clown. This again enforces the idea that women are victims because of the male dominated social conditioning. The portrayal of female suffering in Othello is a bold display of how marginalised and how low they are made to be on the social ranking. The female suffering within Othello is caused solely by the actions of men. It is shown that the killing of women is a fit punishment for someone whom is not supportive of their husbands dishonesty (Emilia) or for implied unfaithfulness (Desdemona). This is completely different for men, Iago who's dishonesty and evilness was the cause of all disharmony is not killed, and Cassio who is portrayed as somewhat of a playboy or womaniser does not face any consequences for this. The social conditioning is such that men may do almost whatever they wish without fear of retribution in the form of death, yet women must not do anything that could be construed as offensive in the eyes of her male husband/owner. A measure of how subordinate the women had become to their domineering husbands is their attitude when facing death, Emilia sings the ?willow song?, the song of forsaken lovers, and Desdemona says when asked who has mortally wounded her ?Nobody; I myself. Farewell: Commend me to my kind lord: O, farewell! ? (Act 5, Sc 2, 125-126). This really does show that even when facing death women are the real victims of ?Othello? because of the social conditioning of the time. Women are not the only victims in ?Othello?, men that have, or have acquired feminine qualities also become victims. A good example of this is the love sick and effeminate Roderigo who is a character that is overrefined and lacking in stereotypical masculine attributes. Because of his female qualities he is picked by Iago to be used to further his own cause until the expiration of his usefulness, ?I have rubb'd this young quat almost to the sense? quat meaning boil or spot. And also as a source of income ?Of gold and jewels that I bobb'd from him, As gifts to Desdemona? (Act 5, Sc 1, 11-17). Othello from being a battle hardened warrior, after marrying Desdemona becomes less unfeeling and also more effeminate, ?So justly to your grave ears I'll present How I did thrive in this fair lady's love? (Act 1, Sc 3, 125-126). After Othello arrives at Cyprus his hard military side drops away even more, and reveals a insecure man, overrun by many unfamiliar emotions which are made stronger by consummating his marriage. This tender side of Othello can be seen right until he kills Desdemona, even wavering at the last minute after kissing her tenderly. Iago takes advantage of these traits of Othello and Roderigo so to further his own purpose. The victimisation of men draws interesting connections between the suffering of men and women in the text, showing that in ?Othello? men who are in some respects effeminate can be victims of social organisation in the same way women are. When studying ?Othello? closely the social climate and value system that exists becomes clear. It is shown to the reader in no uncertain terms that it is women who are the victims because it is men who determine social organisation. The victimisation of women and to a lesser extent men, displays clearly what social conditioning was the norm. Shakespeare gives to the reader a exhibition of how downtrodden women can be when in proximity to men's ?Vaulting ambition, which o'erleaps itself? and their inherently sexist attitude towards the subordinate women of the play. By probing into aspects of the portrayal of men and women, is is shown that women are always victims because it is men who determine social organisation.

William Shakespeare

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Throughout the play, various male figures seek to assert and protect their manhood and their honor. Based on the Duke's regard for him in 1.3, it is clear that Othello has attained political power through his military might. The subplot in which Iago gets Cassio drunk and causes him to humiliate himself, also indicates the importance of "reputation, reputation, reputation." In fact, Cassio asserts that reputation is all that makes you human ("I have lost the immortal part of myself, and what remains is bestial" [2.3.252-3]). Iago asserts—however genuinely or disingenuously—that reputation is more valuable than anything in the world: "good name in man and woman [...] is the immediate jewel of their souls" (3.3.156).

Though military exploits are one way for men to build their honor, when not in war the primary means by which men define their honor is their ability to command the faithfulness of their women. In 1.1, Iago and Roderigo call Brabantio's honor into question because he hasn't been able to control the romantic or sexual impulses of his daughter, Desdemona. Later, Iago drives Othello to question his own manhood—indeed, his very humanity—by making him doubt whether he has power over his wife. In despair over his suspicions about his wife's faithfulness, Othello laments of himself: "A horned man's a monster and a beast" (4.2.62). That is, in his view, to lose control of the woman in his life is to lose everything that makes him human. In other words, without his honor, he sees himself in the same terms that the prejudiced characters see him: as an animal.

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Additional Reading & Videos:

• Essay: Homosocial Desire and its Conversion to Homosexual Desire
• Essay: The Symbolic Significance of Desdemona’s Handkerchief
• Essay: Men, Women and War: An Examination of Gender Conflicts within Othello
• Thesis: Courtship, Love, and Marriage in Othello: Shakespeare’s Mockery of Courtly Love
• Essay: Too Gentle: Jealousy and Class in Othello
• Video: Racism in Othello
• Video: The Question of Race in Othello
• Film: Othello (modern-day adaptation, dir. Geoffrey Sax 2001)
• Film: Othello (filmed theatrical production, 1965)

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Understanding the Impact of Sexism in Contemporary Society

This essay about understanding the impact of sexism in contemporary society examines its historical roots, current manifestations, and profound consequences. It highlights how sexism persists in the workplace, media, education, and mental health, while also intersecting with other forms of discrimination. The essay underscores the need for individual and collective efforts, including policy changes and media representation, to combat sexism and promote a more inclusive and equitable future.

How it works

Sexism, the prejudice or discrimination based on a person’s sex or gender, remains a pervasive issue in contemporary society, affecting individuals across various spheres of life. Despite significant progress in gender equality, the subtle and overt manifestations of sexism continue to shape social, economic, and political landscapes. Understanding the impact of sexism involves examining its historical roots, identifying its current manifestations, and exploring its profound consequences on individuals and society as a whole.

Historically, sexism has been deeply entrenched in cultural, religious, and social norms.

Patriarchal systems, which have dominated for centuries, positioned men as superior to women, relegating women to subordinate roles. This historical context has left a legacy of gender bias that persists today, despite advances in women’s rights and gender equality. The struggle for women’s suffrage, the feminist movements of the 20th century, and ongoing advocacy for gender equality have challenged these norms, but the remnants of patriarchal thinking still influence contemporary society.

In the workplace, sexism manifests in various forms, from wage gaps to discriminatory hiring practices. Women often face barriers to advancement, known as the “glass ceiling,” which prevent them from reaching top leadership positions. This disparity is not merely a reflection of individual capabilities but a systemic issue where societal expectations and biases play a significant role. For instance, women are frequently judged more harshly than men for the same behaviors and are often perceived as less competent or less committed to their careers, especially if they have family responsibilities. The gender pay gap, where women earn significantly less than men for the same work, is a stark indicator of persistent economic inequality.

Sexism also permeates the media and popular culture, reinforcing harmful stereotypes and perpetuating gender biases. Women are often depicted in limited roles, emphasizing beauty and domesticity over intelligence and capability. This representation shapes public perceptions and expectations, limiting the opportunities available to women and girls. Additionally, the objectification of women in advertising and entertainment contributes to a culture that devalues women’s contributions and prioritizes their physical appearance over their talents and achievements.

In education, sexism can affect both girls and boys, though in different ways. Girls often face discouragement from pursuing fields traditionally dominated by men, such as science, technology, engineering, and mathematics (STEM). This discouragement can come from teachers, peers, and even family members who may harbor unconscious biases about gender roles. As a result, fewer women enter and remain in these fields, perpetuating a cycle of underrepresentation. Conversely, boys may be discouraged from expressing emotions or pursuing interests deemed “feminine,” leading to a suppression of their full range of human experiences and capabilities.

The impact of sexism on mental health is significant and multifaceted. Women who experience gender-based discrimination and harassment are at higher risk for anxiety, depression, and other mental health issues. The constant pressure to conform to societal expectations and the fear of not being taken seriously can take a severe toll on women’s well-being. Men, too, suffer from the constraints of sexism, as rigid gender norms can prevent them from seeking help for mental health issues or expressing vulnerability, leading to a range of negative outcomes, including higher rates of suicide.

Sexism also intersects with other forms of discrimination, such as racism, classism, and homophobia, creating compounded effects for those who belong to multiple marginalized groups. Women of color, for instance, face unique challenges that differ from those experienced by white women or men of color. The intersectionality of these identities means that addressing sexism requires a nuanced approach that considers the multiple layers of discrimination individuals may face.

Combating sexism requires both individual and collective efforts. On an individual level, challenging one’s own biases and advocating for gender equality in everyday interactions can contribute to broader social change. Education and awareness-raising are critical components in this process, as they help dismantle stereotypes and promote more equitable attitudes and behaviors.

Institutionally, policies that promote gender equality and protect against discrimination are essential. These policies include measures such as equal pay legislation, parental leave policies, and anti-harassment regulations. However, policies alone are not enough; their effective implementation and enforcement are crucial to ensuring meaningful change. Organizations and institutions must also foster inclusive cultures that value diversity and provide equal opportunities for all individuals, regardless of gender.

Moreover, media and cultural representation play a pivotal role in challenging and changing societal norms. Promoting diverse and positive representations of women and men in all their complexities can help reshape public perceptions and break down harmful stereotypes. Encouraging women to pursue careers in media, arts, and entertainment can also ensure that a broader range of perspectives and experiences are represented.

In conclusion, understanding the impact of sexism in contemporary society requires a comprehensive examination of its historical roots, current manifestations, and far-reaching consequences. While progress has been made, the persistence of gender bias and discrimination highlights the need for continued efforts to achieve true gender equality. By addressing sexism on both individual and systemic levels, society can move towards a more inclusive and equitable future where all individuals have the opportunity to reach their full potential.

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Need to know, life in the sick room: essays | challenging gender norms for women | book of the month from the john martin rare book room.

MARTINEAU, HARRIETT (1802-1876). Life in the sick-room: Essays . Printed in Boston by L.C. Bowles and W. Crosby, 1844. 20 cm tall.

Martineau was born in 1802 into a progressive Unitarian family in Norwich. Despite the societal expectations that confined her to domestic roles, Harriet’s intellect and determination were undeniable. In 1823, she challenged gender norms by anonymously publishing On female education , advocating for women’s rights to education and intellectual pursuits.

Her literary breakthrough came with the publication of Illustrations of political economy in 1832, a series of short stories that deftly wove economic theories into narratives about everyday people. This work not only brought her fame and financial security but also highlighted her as a significant intellectual force.

From 1834 to 1836, Martineau traveled across the United States. A staunch abolitionist and advocate for women’s rights, she wrote extensively against slavery and the lack of opportunities for women, eventually writing Society in America . Her extensive travels also led to insightful writings on the Middle East, India, and Ireland, further establishing her as a versatile and influential journalist and author.

Martineau began experiencing a series of symptoms while on her travels and, in 1839, returned to England for treatment. For someone experiencing a debilitating illness but not necessarily dying, being confined to a “sick room” was common at this time. It allowed the room to be set to the orders of the physician and made it easier for the family to care for their ill relative.

Although confined to her own sick room for five years, Martineau was financially secure and had a progressive, independent spirit. She oversaw her medical care and constructed an environment that best suited her needs. She even restricted access from her family, who she felt could be more emotionally draining than helpful. While resting and recuperating, Martineau remained very productive, writing a novel for children and the essays eventually published in Life in the sick-room .

Already considered an irritation in the medical community, she really caused a stir by claiming that Mesmerism , a pseudo-science medical treatment, cured her. Franz Anton Mesmer (1734-1815), a German physician, maintained that an “animal magnetism” pervades the universe and exists in every living thing.

He believed that its transmission from one person to another could cure various nervous disorders through its healing properties. Mesmer at first used magnets, electrodes, and other devices to effect his cures, but after arousing suspicion among his fellow physicians, he preferred to utilize his hands.

Considered quackery by many in the medical establishment, even in 1844—including by her physician brother-in-law who oversaw her care—physicians publicly attacked Martineau’s claims about Mesmerism. Her brother-in-law eventually published a detailed account of her illness. Although he promised it would anonymously appear in a medical journal, he instead created a public pamphlet and made little effort to disguise who he was talking about.

After ten years of good health, Martineau once again fell ill in 1855 and returned to her sick room. She remained there until her death in 1876. She continued to write during this time, completing, among other things, her autobiography, works promoting women’s suffrage, and critiques of the Contagious Diseases Acts , which targeted women in the name of preventing sexually transmitted illnesses.

After her death, the medical establishment, again including her brother-in-law, who publicly published the results of an unauthorized autopsy, went out of their way to discredit Martineau and her work. Without evidence, they claimed her illness led her to behave in unconventional and “unfeminine” ways. Martineau remained an inspiration to many, though, and her works live on as a testament to her resilience and rejection of the status quo.

Our copy of the first American edition of Life in the sick-room is quite unassuming. It features a standard 19th-century burgundy cloth cover that has faded over time. Since it was a book in the library’s circulating collection for most of its life, it features a “library cloth” rebacked spine with the label maker-printed call number and title easily visible. Inside, the paper is in good condition, with evidence of damage from a long-ago liquid spill. Much like Martineau herself, though, this little book has shown great resilience in the face of adversity!

Contact the JMRBR Curator Damien Ihrig: [email protected] or 319-335-9154 to take a look at this book.

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Guest Essay

Melinda French Gates: The Enemies of Progress Play Offense. I Want to Help Even the Match.

By Melinda French Gates

Ms. French Gates is a philanthropist and the founder of the charitable organization Pivotal.

Many years ago, I received this piece of advice: “Set your own agenda, or someone else will set it for you.” I’ve carried those words with me ever since.

That’s why, next week, I will leave the Bill & Melinda Gates Foundation , of which I was a co-founder almost 25 years ago, to open a new chapter in my philanthropy. To begin, I am announcing $1 billion in new spending over the next two years for people and organizations working on behalf of women and families around the world, including on reproductive rights in the United States.

In nearly 20 years as an advocate for women and girls, I have learned that there will always be people who say it’s not the right time to talk about gender equality. Not if you want to be relevant. Not if you want to be effective with world leaders (most of them men). The second the global agenda gets crowded, women and girls fall off.

It’s frustrating and shortsighted. Decades of research on economics , well-being and governance make it clear that investing in women and girls benefits everyone. We know that economies with women’s full participation have more room to grow. That women’s political participation is associated with decreased corruption. That peace agreements are more durable when women are involved in writing them. That reducing the time women spend in poor health could add as much as $1 trillion to the global economy by 2040.

And yet, around the world, women are seeing a tremendous upsurge in political violence and other threats to their safety, in conflict zones where rape is used as a tool of war, in Afghanistan where the Taliban takeover has erased 20 years of progress for women and girls, in many low-income countries where the number of acutely malnourished pregnant and breastfeeding women is soaring.

In the United States, maternal mortality rates continue to be unconscionable , with Black and Native American mothers at highest risk. Women in 14 states have lost the right to terminate a pregnancy under almost any circumstances. We remain the only advanced economy without any form of national paid family leave. And the number of teenage girls experiencing suicidal thoughts and persistent feelings of sadness and hopelessness is at a decade high.

Despite the pressing need, only about 2 percent of charitable giving in the United States goes to organizations focused on women and girls, and only about half a percentage point goes to organizations focused on women of color specifically.

When we allow this cause to go so chronically underfunded, we all pay the cost. As shocking as it is to contemplate, my 1-year-old granddaughter may grow up with fewer rights than I had.

Over the past few weeks, as part of the $1 billion in new funding I’m committing to these efforts, I have begun directing new grants through my organization, Pivotal, to groups working in the United States to protect the rights of women and advance their power and influence. These include the National Women’s Law Center, the National Domestic Workers Alliance and the Center for Reproductive Rights.

While I have long focused on improving contraceptive access overseas, in the post-Dobbs era, I now feel compelled to support reproductive rights here at home. For too long, a lack of money has forced organizations fighting for women's rights into a defensive posture while the enemies of progress play offense. I want to help even the match.

I’m also experimenting with novel tactics to bring a wider range of perspectives into philanthropy. Recently, I offered 12 people whose work I admire their own $20 million grant-making fund to distribute as he or she sees fit. That group — which includes the former prime minister of New Zealand, Jacinda Ardern, the athlete and maternal-health advocate Allyson Felix, and an Afghan champion of girls’ education, Shabana Basij-Rasikh — represents a wide range of expertise and experience. I’m eager to see the landscape of funding opportunities through their eyes, and the results their approaches unlock.

In the fall, I will introduce a $250 million initiative focused on improving the mental and physical health of women and girls globally. By issuing an open call to grass-roots organizations beyond the reach of major funders, I hope to lift up groups with personal connections to the issues they work on. People on the front lines should get the attention and investment they deserve, including from me.

As a young woman, I could never have imagined that one day I would be part of an effort like this. Because I have been given this extraordinary opportunity, I am determined to do everything I can to seize it and to set an agenda that helps other women and girls set theirs, too.

Melinda French Gates is a philanthropist and the founder of Pivotal, a charitable, investment and advocacy organization.

Source photographs by Bryan Bedder, filipfoto, and Westend61, via Getty Images.

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