1. Discuss the role of Reputation in Shakespeare's Othello 

Reputation plays a big role in the play Othello written by Shakespeare. Iago uses his reputation as an honest man to deceive Othello and everyone else. Othello's reputation also plays a big role throughout the play. Cassio's changing reputation has a big part in the outcome of the play as well. 

Iago's reputation played a key role in the play. Everyone thought of Iago as an honest man. "O, that's an honest fellow", "You advise me well... goodnight honest Iago." Iago convinces everyone that he is noble and honest man and he uses this to his advantage. "When devils will the blackest sins put on, they do suggest at first with heavenly shows." Without this cover he would never have been able to get Othello to believe that Desdemona would cheat on him. Just for suggesting that Desdemona would cheat on him (Othello), he probably would have killed Iago were it not for his reputation. Nobody suspects that Iago is a deceitful man and would plot to destroy Othello, Desdemona, and Cassio in such a cunning way. Iago uses his reputation to manipulate Othello and set his plan in motion and complete it. Without Iago's honest reputation would never had allowed him smear Cassio and cause the death of Desdemona and ultimately Othello as well.  

Othello's reputation also plays a big role in this play and the outcome of it. He has the reputation of a no nonsense military general. This status in fact partly causes Desdemona's death. He becomes so distraught when he hears from Iago that Cassio and Desdemona and cheating on him he becomes angry and wants to kill her. "I will chop her into messes! Cuckold me?" He is surprised and

astonished that she would go behind his back and do this. His reputation doesn't allow him to confront her with the situation and talk things over. He is also angry that his reputation would be tarnished when found out that he is a cuckold. He proves that his reputations means a lot to him when he says, "For nought I did in hate, but all in honour." Othello believed that reputation was everything, because of his status as a general and the fact that those under him and above him respected him. Othello's reputation played a big role in the outcome of the play and in part caused Desdemona's death and his own. 

Cassio's changing reputation played a big role in the play as well. Reputation was everything to Cassio, but once demoted he began to act differently and couldn't face Othello. "I have lost the immortal part of myself, and what remains is bestial." After Cassio is demoted Othello loses faith in his once good friend because of his tarnished reputation. Had Cassio not gotten drunk, Iago wouldn't have been able to convince Othello that he was cheating with Desdemona. He was too loyal of a friend and had always followed orders. Othello says to Cassio, "I'll make thee an example." He clearly show his loss of trust in Cassio and Cassio knows this. He tries to correct the situation with Othello through Desdemona, but it only makes things worse once Iago steps in. Cassio's tarnished reputation only helps Iago succeed in his plan. Cassio reputation as a loyal, just and honest soldier are trashed when he gets drunk. This ultimately helps Iago prevail.  

Reputation is an important thing. It helps people know who to trust and what judgements they make regarding a person. The reputations of these three characters played big roles in the outcome of the play. The ending would clearly have been different had Iago not been known as honest or Othello as a noble military man or Cassio's

reputation tarnished. Reputation is what helps all of us make judgements about others and is very important in our society today. 

2. To what extent does Desdemona's behaviour lead to her tragic end? Support your view with examples from the text.

To the extent that Desdemona becomes submissive and allows herself to be victimized, as well as her lying about the loss of the treasured handkerchief that Othello gives her, she contributes to her tragic end.

It is so often one of the great ironies of marriages that what first attracts people to one another and leads to their engagement and wedding often becomes the same element that effects the undoing of those marriages. Desdemona's attraction to the great warrior who tells her exciting tales of battle excites her to a desire to be part of his life. He, in turn, may well be attracted by her fierce independence in her conviction to marry him against the social prejudices of her Venetian society, as well as her allegiance to him when she speaks to her father who demands her obedience:

I am hitherto your daughter. But here’s my husband.

And so much duty as my mother showed

To you, preferring you before her father,

So much I challenge that I may profess

Due to the Moor my lord. (1.3.186-190)

It would seem, however, that Desdemona's independence does not last, either because she has been merely affected by the warrior spirit of her husband in the newness of their marriage and she simply imitates him in her defiance of her father, or because she changes, feeling that she must

assume the more traditional role of wife lest her assertion of independence enrage him or estrange her from him. For, as the drama progresses, Othello transfers some of his bellicose nature to their personal relationship. His wife's growing submission, unfortunately, seems to contribute to his behavior and to Desdemona's demise. While Othello's jealousy certainly absorbs his ability to think clearly, Desdemona may also ignite the flames of his aggressiveness by her submissive attitude as he loses respect for her.

Further, with the villain Iago's planting of seeds of doubt and jealousy in Othello, in his irrational emotion, Othello stifles his wife's speech which has been Desdemona's most powerful weapon. It is, again, her succumbing to his overbearance that is her undoing since a change in character often causes people to become suspicious. Even when Emilia scolds her, Desdemona exhibits this new passivity,

EMILIA.    Here's a change, indeed,DESDEMONA.  'Tis meet I should be used so, very meet.               How have I been behaved that he might stick.               The small'st opinion on my least misuse. (4.2.111-114) 

Having lied about her lost handkerchief that Othello has given her may also be a cause of Desdemona's undoing as it is this lie that convinces him of her guilt since Iago produces an imitation which convinces Othello that Desdemona has lost it. After this discovery, Othello allows his warrior nature to overpower him, and he kills his beautiful wife. Even in death, Desdemona once so independent and strong, surrenders and blames herself for Othello's cruelty.

Tragically, in the end, both Othello and Desdemona pervert their assets of confidence and independence and candor, destroying the love and respect which began their marriage.

3. Comment on the use of imagery in Othello.  

In William Shakespeare's Othello, the use of imagery and metaphors is significant in conveying meaning as it helps to establish the dramatic atmosphere of the play and reinforce the main themes. Through this, the audience is able to grasp a better understanding of the play. 

Throughout Othello, images relating to poison frequently occur. These references are predominantly made by Iago. This seems appropriate for Iago who exhibits the characteristics of poison; they being fatal and deadly. There are several possible explanations to what motivates Iago: being overlooked for the lieutenancy, the belief that Othello and Cassio had committed adultery with his wife, though this is never really proved; class differences present in the society that made him feel inferior, and racial differences. This desire for revenge is so great it "doth, like a poisonous mineral, gnaw [his] inwards." Iago's use of language is a primary weapon in manipulating Othello. By "pour[ing] this pestilence into his ear", Iago contaminates his thoughts. Once Othello starts to doubt Desdemona's fidelity, he is so incredibly driven by jealousy that it leads him to murder her, ironically with poison. 

Many references are made to animals in the play. Iago uses beast imagery to express his contempt and to downgrade those he despises. Early in Act 1, he rouses Brabantio's anger by using crude images of animals fornicating to inform him that his "daughter and the Moor are now making the beast with two backs." Such a metaphor is designed to

evoke a strong emotional response. In a soliloquy at the conclusion of Act One, Iago says "It is engendered. Hell and night / Must bring this monstrous birth to the world's light." Shakespeare uses the image of a monster being born as a metaphor for the start of Iago's evil scheming. It also becomes evident that Othello's mind has been corrupted by Iago's evil handiwork when he too starts to use the same sort of animal imagery in his speech. In one scene, convinced of his wife's infidelity, Othello loses all self-control crying out "goats and monkeys," animals traditionally considered lascivious. 

There is also a wealth of heaven and hell imagery in Othello. Iago, who is Machiavellian in nature and revels in tormenting others, can be perceived as the devil personified. Even he himself acknowledges this when he says "devils will the blackest sins put on...suggest at first with heavenly shows / As I do now." Iago's manipulation of Othello causes him to see Desdemona as 'devilish', therefore she must be brought to 'justice'.  

Desdemona, though, is associated with images of light, heaven and purity, thus suggesting her innocence. Even in the last scene as Othello prepares to kill her, he uses a rose as a metaphor for Desdemona. This indicates that her beauty still has an influence over him as well as his ever present feelings of affection for her. When at last Iago is exposed as the true villain and just before committing suicide, Othello, using another metaphor, compares Desdemona to a pearl whom he has thrown away. This is one of many times where she is referred to as a priceless jewel. 

Throughout the play, the contrast between black and white is also used as a metaphor for the difference between Othello and the Venetian society. Several references to

Othello as "an old black ram" and "far more fair than black" indicate that even though he holds the distinguished position of a general, the fact that he is black still makes him the 'outsider'. 

Through the use of imagery and metaphors, Shakespeare is able to generate a considerable impact on the audience positioning them to recognise the full extent of the tragic outcome as a result of Iago's treachery. The use of these vivid images and comparisons effectively defines the nature of each character and explores central themes such as deception, race and jealousy.

4.‘Othello is a weak character, who brings about his own destruction.’

Discuss this view, supporting your answer with suitable reference to the text.

I firmly believe  that Othello is a character who has much to admire about him. He is gallant and courageous and by one account ‘commands like a full soldier’.   In every way, he presents initially as a heroic figure, more than a match for any enemy on the battlefield and a fitting husband for the divine and beloved Desdemona. However,  it soon became clear to me  that he is an inherently flawed individual, haunted by insecurities and vulnerable to manipulation by others. Ultimately it is the cunning Iago who exposes Othello as a weakcharacter, whose problems are many and deep. It may be unfair to say that he is completely deserving of the chronic chaos and destruction that consumes his life, but I don’t think  there can be any doubt that Othello contributes handsomely to his own demise.

  When we first encounter Othello, there is little evidence of any weaknesses in hischaracter and he comes across as

a highly respected and capable individual with  many strengths. One powerful senator describes him as the ‘valiant Moor’ and this seems to reflect the general sense that he is a man who is revered among the powerful elite of Venice. Even Iago himself, who confesses that ‘I hate the Moor’, has to admit that ‘another of his fathom they have none to lead their business’. I found this particularly impressive given the obstacles Othello must have faced as a dark-skinned outsider, as he strove to succeed in a society tarnished by racism and prejudice. I found it fascinating to see the courage that obviously gained him so much respect over the years in action, when he faced down Brabantio and the angry mob that accused him of using ‘witchcraft’ to enchant Desdemona. I was really impressed with the calm way he suggests that the men ‘keep up your bright swords for the dew will rust them’. You could see why this sort of calmness and bravery in the midst of a crisis would have been prized by the leaders of Venice and have led to Othello rising to such a position of power. There is no doubt that for all hisweaknesses, Othello has many fine qualities.

The problem for Othello is that beneath the obvious qualities that are apparent initially in the play, there are also a number of serious flaws that in the end help bring about his complete destruction.

(WEAKNESS 1: POOR JUDGE OF CHARACTER)

(WEAKNESS 2: INSECURITY)

(WEKNESS 3: JEALOUSY)

Of course there is no doubt that Othello’s weaknesses alone would not have been enough to destroy him had Iago not been on hand to exploit those vulnerabilities. Othello’s naivety leaves him in a position where the very person he trusts the most is the

one who is most determined to bring about his ruination. Iago’s cunning nature combined with Othello’s ‘constant loving noble nature’ mean that he is easily ‘led by th’ nose. As asses are.’ In some ways I feel that Othello is desperately unlucky to encounter a man so evil; who is so determined to practise ‘upon his peace and quiet. Even to madness.’ Not only is Iago determined to use ‘all the tribe of hell’ to ruin Othello, but he sets about the task with the sort of brilliant cunning that I honestly was in awe of . The way he slyly manipulates the thought processes of the vulnerable Othello for me  is one of the most memorable aspects of the play. The insinuating tone that he uses when commenting ‘I like not that’ as Cassio skulks away is enough to plant the most insidious thoughts in the Moor’s head. For all his many weaknesses, there is no doubt in my mind  that Iago’s evil and determined cunning plays a significant role in Othello’s ultimate demise.

It is part of the tragedy of Othello that a character of his talents and standing allows himself to be so easily led towards self-destruction. Superficially, Othello is something of a super-hero, the one the privileged elite of Venice turn to when the Turks or some other enemy threaten. However, despite the fact that Othello’s faults appear at first insignificant: insecurity in his outsider status; too trusting, prone to jealousy etc.,  it quickly became clear to me  that they could prove to be potentially fatal. In Iago’s manipulative hands, Othello’svulnerabilities are exposed and ruthlessly fuelled. In the end though, despite Iago’s crucial contribution, I do believe that Othello is a weak character who must accept the blame for his own destruction, not to mention for all the other innocent blood that is so needlessly shed.

5. Discuss the theme of violence in Shakespeare's Othello 

In William Shakespeare's Othello violence can be found in several different ways. Violence can be expressed physically, mentally, and verbally. This tragic play shows how jealousy and envy can overpower a person's mind and lead them to wreak havoc on others. Not only does this story give many different examples of violence, it displays how mental violence can promote physical violence, and continues on in that cycle. Mental promotes physical which ultimately leads back to mental. 

All of the violence in this story revolves around the deception of Iago. Iago has a built up rage because he feels that he did not get the recognition that he deserved from Othello when he was not named lieutenant and Cassio was. The first obvious form of physical violence that occurred was when recently named lieutenant, Cassio fought Roderigo in Act two Scene three. Iago persuaded Cassio to drink even though he didn't want to. Cassio's drunkenness caused him to act differently and start a fight with Roderigo. Cassio says, "A knave teach me my duty! I'll beat the knave into a twiggen bottle (p. 48)." At this point he strikes Roderigo much to the dismay of Governor Montano. Montano tries to stop Cassio from inflicting any more pain on Roderigo, but Cassio says, "Let me go, sir; or I'll knock you o'er the mazzard (p. 48)." Montano lets Cassio go and at this point he and Roderigo fight. This fight ultimately leads to the dismissal of Cassio as Othello's lieutenant. This instance specifically shows how Iago's manipulation leads Cassio to mental insanity, and causes him to become physically violent. 

The situation above leaves an opening for Iago to fulfill his vital plan to bring down Othello through Desdemona. Cassio was a mental wreck and told Iago that his reputation was ruined. Iago told him that he can get his rank back through Desdemona and get back on Othello's good side. "Confess yourself freely to her, importune her help to put you in your place again (p. 54)." Once Cassio talks to Desdemona, Iago will speak with Othello and get him to think of his wife's trust. In Act three Scene three Iago is speaking to Othello and warns him to look out for Cassio and Desdemona. Othello asks Iago if it was just Cassio that left from speaking with his wife. Iago replies, "Cassio, my lord? No, sure I cannot think it that he would steal away so guilty-like, seeing you coming (p. 60)." This causes Othello to initially ponder the possibility of his wife and Cassio. On page 65 Iago says, "Utter my thoughts! Why, say they are vile and false (p. 65)?" This statement although it seems innocent will cause Othello to think more about Desdemona and Cassio, and will make Iago look like the good guy. Iago is constantly feeding Othello with thoughts that will lead Othello's mind to become mentally violent. Othello begins to play out violent scenarios in his mind regarding his wife and Cassio. These scenarios change from just thoughts to beliefs, and Othello convinces himself that Iago speaks the truth. 

One of the main circumstances that convinces Othello of Desdemona's affair with Cassio involves a handkerchief that Othello gave to his wife. Iago plants the handkerchief in Cassio's room. Iago then tells Othello in Act three Scene three, "I know not what; but such a handkerchief- I am sure it was your wife's- did I today see Cassio wipe his beard with (p. 77)." Othello at this point needs no more convincing and becomes mentally unstable. He says, "Now I

see tis true. Look here, Iago, all my fond love thus do I blow to heaven; tis gone (p.77)." On the next page Othello explains, "Within these three days let me hear thee say that Cassio's not alive (p. 78)." He is no longer thinking in the correct frame of mind, and now wants nothing more than to see Cassio dead. This is a perfect example of how mental violence causes Othello to want to inflict physical violence upon Cassio. Othello later asks Desdemona if he can see the handkerchief and she says she can't find it and tries to change the subject. At this point Othello leaves in rage. 

Othello's thoughts promote mental violence, and overtake him at one point. Iago tells Othello that he saw Cassio lying with/on Desdemona. This causes Othello to become mentally unstable, "Lie with her? Lie on her? We say lie on her when they belie her. Lie with her! Zounds, that's fulsome... (p. 90)." His thoughts are running so wild that he causes physical violence on himself and falls into a trance. Once Othello comes to, Iago tells him to hide while he talks to Cassio. Iago and Cassio's conversation proves to Othello that Desdemona is having an affair. A prostitute Bianca comes in the room at this time with Othello's handkerchief further proving that Desdemona gave Cassio the handkerchief. Once Cassio leaves, Othello asks Iago, "How shall I murder him Iago? (p.95)" Once again this is a perfect example of how Othello's mental violence has overpowered him and caused him to want to physically murder Cassio.  

Later in this scene Lodovico enters with Desdemona with a letter for Othello from Venice. The letter calls Othello back to Venice to reinstate Cassio. Desdemona and Othello get into a verbal argument and on page one-hundred Othello calls her the "devil." This shows how Othello's mental

violence caused him to become verbally violent with his wife. This verbal argument escalates and Othello strikes his wife causing physical violence. Later he refers to her as a whore as well specifically on page one-hundred five. Desdemona does not know what she has done wrong so now she is too pondering mental violence in her head. 

Iago's mental violence and jealousy causes him to convince Roderigo to kill Cassio. Roderigo's attempt to kill Cassio is not successful so Iago is forced to wound him. The mental violence Iago had caused him to plot against Othello and Cassio, and Othello became mentally violent and ordered the murder of Cassio. This shows how everybody's mind led them to physical violence. 

All of Othello's mental violence ultimately leads him to kill his wife in Act five Scene two. "Be thus when thou art dead, and I will kill thee and love thee after. One more, and this the last (p. 126)." Desdemona wakes up and tries to plead her innocence but Othello is so driven by his thoughts that he smothers her to death. Emilia comes in and finds Desdemona dead, and Othello says he killed her for her infidelity. Emilia realizes what Iago has done once he comes into the room. "O, are you come, Iago? You have done well, that men must lay their murders on your neck (p.133)." Emilia explains how she gave Iago the handkerchief, and this causes Othello to emotionally break down. Iago kills Emilia at this point and runs away but is caught. Othello realizes now that he killed Desdemona for no reason and this causes him to mentally collapse and physically kill himself. 

Iago's mental jealousy led him to bring down both Cassio and Othello. In doing that he caused Othello much mental

violence. All of the mental violence became too much on Othello and led him to attempt to kill Cassio, kill his wife, and eventually kill himself. William Shakespeare's Othello conveys the cycle from mental violence to physical violence on several different occasions. The mental violence in this story led to the physical deaths of Emilia, Desdemona, Othello, and eventually Iago.

6. Discuss the theme of feminism in Othello.  

    In William Shakespeare’s tragic drama Othello, the male characters far outnumber the female ones. This may tend to cause the feminine viewpoint to be shortchanged. Let’s not let that happen – by consideration of same in this essay. 

In the essay “Wit and Witchcraft: an Approach to Othello” Robert B. Heilman discusses 

involvement in the play by Emilia, the wife of Iago:   

Emilia’s picking up the handkerchief helps advance the action by contributing to Iago’s deception of Othello, but it is also relevant to her character and to Shakespeare’s conception of the modes of wifely devotion and marital relationship (not to mention its relations by contrast with actions of Desdemona and Bianca and of Emilia herself later). (330) 

It was Emilia’s gift of the decorated kerchief to her husband that set up Desdemona for murder. Helen Gardner in “Othello: A Tragedy of Beauty and Fortune” talks of Emilia’s outlook on things: 

Emilia’s silence while her mistress lived is fully explicable in terms of her character. She shares with her husband the

generalizing trick and is well used to domestic scenes. The jealous, she knows, 

are not ever jealous for the cause 

But jealous for they are jealous.  

If it was not the handkerchief it would be something else. Why disobey her husband and risk his fury? It would not do any good. This is what men are like. But Desdemona dead sweeps away all such generalities and all caution. At this sight, Emilia though ‘the world is a huge thing’ finds that there is a thing she will not do for it. By her heroic disregard for death she gives the only ‘proof’ there can be of Desdemona’s innocence: the testimony of faith. For falseness can be proved, innocence can only be believed. Faith, not evidence, begets faith. (145) 

At the outset of the play only the male perspective is given: Iago persuades the rejected suitor of Desdemona, Roderigo, to accompany him to the home of Brabantio, Desdemona’s father, in the middle of the night. Once there the two awaken the senator with loud shouts about his daughter’s elopement with Othello. In response to the noise and Iago’s vulgar descriptions of Desdemona’s involvement with the general, Brabantio arises from bed. With Roderigo’s help, he gathers a search party to go and find Desdemona and bring her home. The father’s attitude is that life without his Desdemona will be much worse than before: 

It is too true an evil: gone she is; 

     And what's to come of my despised time 

     Is nought but bitterness. (1.1)   

Brabantio is the old father, and he hates to lose the comforting services of his Desdemona. The daughter’s husband Othello expresses his sentiments to Iago regarding his relationship with the senator’s daughter, saying   

that I love the gentle Desdemona, 

     I would not my unhoused free condition 

     Put into circumscription and confine 

     For the sea's worth. (1.2)   

Once that Brabantio has located Othello, the father presses charges publicly in order to have Desdemona returned: 

     To prison, till fit time 

     Of law and course of direct session 

     Call thee to answer. (1.2) 

The proceedings which take place before the Duke of Venice enable the audience to hear the feminine point of view for the first time in the play. Desdemona is compelled by the situation to stand before the senators and duke, members of the City Council of Venice, and present her side of the story in a convincing manner. She is both respectful of her father and loving of her husband: 

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 showed 

To you, preferring you before her father, 

So much I challenge that I may profess 

Due to the Moor my lord. (1.3) 

Brabantio’s rage, among other reasons, necessitate that Desdemona live with Iago and Emilia during the Moor’s campaign in Cyprus against the Turks. While awaiting the arrival of Othello’s ship at the seaport of Cyprus, Desdemona shows herself an intelligent, educated debater. She grows tired of Iago’s derogatory comments directed at his wife, and she quite matter-of-factly states her mind: “O, fie upon thee, slanderer!” She continues to critique the ancient’s answers to her questions:  “These are old fond paradoxes to make fools laugh i' the alehouse” and “O heavy ignorance! thou praisest the worst best.” She is not fearful of the military man, or reticent in the least.  

 Once that her husband has safely arrived on the island and disembarked, she greets him publicly as if she were herself a diplomat, and later responds before the crowd to his loving address to herself: 

     The heavens forbid 

     But that our loves and comforts should increase, 

     Even as our days do grow! (2.1) 

Later, when Cassio appeals to her after Iago has entangled him in an imbroglio with Roderigo and Governor Montano, which leads to his dismissal by the general, she becomes a mediator between the general and the dismissed lieutenant: “Be thou assured, good Cassio, I will do / All my abilities in thy behalf.” She has a natural inclination to help others, to exercise generosity toward those in need; she is coming, as it were, from a very Christian starting point.  

Emilia, the most prominent female character after Desdemona, is not of the caliber of the aforementioned. Emilia makes her appearance in Act 2, defending herself verbally against an onslaught of criticism by Iago: “her tongue she oft bestows on me”; “chides with thinking”; “Bells in your parlors, wildcats in your kitchen / Saints in your injuries, devils being offended.” Emilia seems not intelligent and witty enough to adequately defend herself, so Desdemona comes to her assistance, calling the ancient a “slanderer.” 

 Unfortunately Emilia is manipulated by her husband. Iago, in planning his strategy following the dismissal of Cassio, says, “My wife must move for Cassio to her mistress; I’ll set her on”; and she shortly thereafter gives the lieutenant access to Desdemona: “I will bestow you where you shall have time / To speak your bosom freely.” Emilia is sheepish at times: She announces to Desdemona, who is with Cassio, “Madam, here comes my lord,” referring to the Moor. Emilia functions basically as a servant to Desdemona and a dupe for Iago; she does not seem capable of more than this through most of the play. In her simplemindedness she freely gives Iago the handkerchief which he has asked her to steal, knowing quite plainly that the loss would pain her

mistress (“but she so loves the token”). Emilia evidences selfishness in this act: “What will you give me now / For that same handkerchief?” Since the climax of the play depends on this one weak act by Emilia, it is obvious that she is as crucial to the plot as is Othello. When her mistress asks her the whereabouts of the handkerchief, Emilia lies: “I know not, madam.” After witnessing Othello’s violent reaction to his wife’s inability to produce the handkerchief, Emilia acts dishonestly by not acknowledging that she gave it to Iago. She appears morally weak, emotionally weak and mentally weak. Fortunately, she changes radically in the final scene when she sees the corpse of Desdemona. 

In Act 3 Scene 4, the final female character makes her entrance into the play. She is Bianca, a prostitute by profession, who has fallen in love with a client of hers, Michael Cassio. Bianca is ruled by her passions; she has apparently followed Cassio to Cyprus because she is in love with him and wants to marry him. When Cassio presents Desdemona’s kerchief to her, asking that she remove the stitchery, she becomes suspicious that another woman is in his life: “This is some token from a newer friend.” Bianca resolutely faces off against Cassio when he defends his actions with “Not that I love you not,” by responding, “But that you do not love me!” Bianca’s timely presentation of the kerchief later, in the presence of Othello who recognizes it as his gift to Desdemona, makes her contribution to the play a significant one even though she has but a few brief appearances. Bianca’s simple desire is to be near Cassio: “’Tis very good. I must be circumstanced.” Following supper at Bianca’s, Cassio is waylaid by Roderigo. Iago paints Bianca as a prime suspect in the ambush, and Emilia joins her husband in calling her a “strumpet.” Bianca is very two-dimensional and is the “lowest” lady in the play socially speaking. 

Meanwhile, Desdemona, as a loving wife, is aware of the deterioration in Othello’s attitude and shows considerable concern: 

     Something, sure, of state, 

     Either from Venice, or some unhatch'd practise 

     Made demonstrable here in Cyprus to him, 

     Hath puddled his clear spirit: and in such cases 

     Men's natures wrangle with inferior things, 

     Though great ones are their object. (3.3) 

Lodovico arrives from Venice to recall the general and to leave Cassio in charge of Cyprus, Desdemona escorts the diplomat to Othello, with whom she still pleads her case on behalf of the fallen Cassio: “Cousin, there's fall'n between him and my lord / An unkind breach: but you shall make all well.” She retains her dignified manner even as Othello calls her “Devil!” and strikes her in the presence of Lodovico; she quietly responds, “I have not deserved this,” and weeps. The audience’s reaction is Lodovico’s: “My lord, this would not be believed in Venice, / Though I should swear I saw't: 'tis very much: / Make her amends; she weeps.” When the general questions Emilia, the latter adamantly supports the consistent virtue of Desdemona: 

     I durst, my lord, to wager she is honest, 

     Lay down my soul at stake: if you think other,  

     Remove your thought; it doth abuse your bosom. 

     If any wretch have put this in your head, 

     Let heaven requite it with the serpent's curse! 

     For, if she be not honest, chaste, and true, 

     There's no man happy; the purest of their wives 

     Is foul as slander. (4.2) 

Regardless of Emilia’s excellent testimony, Othello calls his wife a “strumpet,” which elicits a pious, levelheaded response: 

No, as I am a Christian: 

     If to preserve this vessel for my lord 

     From any other foul unlawful touch 

     Be not to be a strumpet, I am none. (4.2) 

In a brief verbal exchange between Emilia and her mistress, Desdemona experiences a mysterious premonition: “Prithee, tonight / Lay on my bed my wedding sheets: remember; / And call thy husband hither.” The mistress manifests some undefined psychic ability regarding what is about to transpire on this night. The two ladies discuss adultery, which Desdemona is too innocent to even think twice about, but which Emilia is willing to engage in if the price is right. From this discussion, in which both women are totally frank, the audience sees that the feminine perspective can be pro and con on the same issue. Robert Di Yanni in “Character Revealed Through Dialogue” examines the dialogue between Desdemona and Emilia, and finds that it reveals the former’s innocence: 

In this dialogue we not only see and hear evidence of a radical difference of values, but we observe a striking difference of character. Desdemona’s innocence is underscored by her unwillingness to be unfaithful to her husband; her naivete, by her inability to believe in any woman’s infidelity. Emilia is willing to compromise her virtue and finds enough practical reasons to assure herself of its correctness. Her joking tone and bluntness also contrast with Desdemona’s solemnity and inability to name directly what she is referring to: adultery.(122) 

Desdemona then dismisses Emilia for the last time. In Act 5, Cassio’s screams after being wounded by Roderigo spur the general to execute his part of the bargain with his ancient, namely the execution of Desdemona: “The voice of Cassio: Iago keeps his word.” In Scene 2, Othello awakens his wife, whose first concern is for her husband, whose emotions have disfigured his appearance: 

Alas, why gnaw you so your nether lip? 

     Some bloody passion shakes your very frame: 

     These are portents; but yet I hope, I hope, 

     They do not point on me. (5.2) 

When the Moor confesses his intention to kill her, she puts spiritual concerns in the forefront before even her very life: “Then Lord have mercy on me!” This spiritual consciousness within the women characters becomes gradually more dominant towards the end of the play. The spiritual orientation is later played out to the fullest extent possible by Emilia, who sacrifices her own life so that the truth can be known. 

Othello in a holy rage suffocates his wife. Shortly, Emilia comes upon the scene, and Desdemona revives just enough to tell her friend that she dies a guiltless death, and to say some words of kindness for Othello, “Commend me to my kind lord: O, farewell!” Her perspective seems saintly, apparently recognizing the good in the general’s intentions. The general confesses to Emilia why he did it – because of Iago’s testimony to Desdemona’s falseness. Emilia is enraged, “O gull! O dolt!” Of imperfect morality, she at this point becomes a beacon of light and truth; she contradicts Iago: “Thou art rash as fire, to say / That she was false: O, she was heavenly true!” and accuses him of lying: 

     You told a lie, an odious, damned lie; 

     Upon my soul, a lie, a wicked lie. 

     She false with Cassio! (5.2) 

Then she accuses him of causing murder: “And your reports have set the murder on.” Emilia’s stunning interrogation and conviction of her own husband as the evil mastermind behind the crime results in Iago’s killing her. Despondent Othello, grief-stricken by remorse for the tragic mistake he has made, stabs himself and dies on the bed next to his wife. 

The feminine perspective is varied and inconsistent, but enables the truth to come out and goodness to triumph in the end. 

   7. Discuss the theme of women as victims in Othello.

Othello is a play that only contains three female characters. Their roles vary and it would be an exaggeration to categorize them all as victims. However, there are similarities between the three women. 

The least involved woman in Othello is Bianca. Her relationship with Cassio does not appear to be full of commitment. 

         "What keep a week away? Seven days and nights?"  

It could be argued that Cassio used Bianca somewhat. The manner in which he asks for a favor creates an impression that he is experienced at sweet-talking her. 

     "Sweet Bianca, take me this work out" 

The way that Cassio initially addresses Bianca is rather sycophantic, especially as the task is so menial.  

Therefore, the role of Bianca and her relationship with Cassio is poor. It appears that he uses her and shows little affection, only when he wants something.

Emilia's role is more complex in Othello. Iago likes to dominate Emilia and in many respects uses her quite badly. However, she also proves that she can be strong and show control.

Halfway through Act 3 Scene 3 Emilia and Iago have their first moment alone together. Iago doesn't use any romantic setting for his wife. 

         "now now what do you here alone?" 

This lack of affection, straight to the point attitude

continues throughout their conversation. 

         "A good wench, give it to me." 

Throughout their conversation Iago's attitude towards Emilia has no respect. He doesn't talk to her like a husband but more like an employer. 

Emilia may be typecast as a victim early in the play but she shows real strength at the closing stages of the play. Despite the dominance that Iago has over her she manages to undermine his position and bring about his eventual downfall. Her strength can be clearly seen in her lines 

         "She give it Cassio! No alas, I found it and I did give't my husband." 

Her strength and determination to punish Iago leads to her death though in this respect she may be seen as a victim. In her only moment of strength she was struck down. Iago's language towards Emilia gives an impression that she may be a victim. 

         "Villainous whore!" and "good wench" 

He rarely complements her. 

Desdemona enjoys a much more loving relationship with her husband. Othello even says he is dependant on her.  

         "perdition catch my soul 

         but I do love thee: and when I love thee not chaos is come again." 

The depth of their love, it could be argued makes her the

ultimate victim. Her innocence also makes her a great victim. She is the victim of a man wrapped in jealousy. [6] Othello even says that he loved her too much. 

         "of one that loved not wisely but too well;"  

Desdemona, however might not regard herself as a victim. Her love is so strong that she is willing to forgive Othello after he has killed her. 

         "Nobody; I myself, farewell" 

It may well be that she accepts the strength of Othello's love as an explanation for her death. The murder of Desdemona may make her a victim, but she doesn't regard herself as one. Therefore, Bianca's small roll classes her as a victim and definitely someone used and abused by Cassio. 

Emilia's strength may make her less of a victim, but the deceitful nature of Iago condemns her to a victim status. Desdemona, though the most obvious victim, is less of a victim because of the love showed to her from her Othello.