Othello: A Shakespearian Approach to Feminism

Manny Lemos

Mr. Sobiera

ENG3U1

2 December 2016

Othello: A Shakespearian Approach to Feminism

        Throughout history, women have often been viewed as inferior and subservient to men. However, even in the face of this systemic oppression, women have shown that they are strong, intelligent, and above all else, role models, capable of challenging the sexist views of their societies. Likewise, in Shakespeare’s Othello, females are seen by males as “whores”, “prostitutes”, unintelligent, and pawns to do their husbands bidding. Nonetheless, these women challenge the views of their society. Bianca, a supposed prostitute and mistress to Cassio, stands up against false accusations of murder and infidelity, an issue that plagues every society. Then, Desdemona elopes with a black man without her father’s knowledge, breaking down racial prejudices of the 1600s. Lastly, Emilia, originally a subservient housewife who embodies the image of how women were seen in Shakespearian times, acts as arguably the most intelligent, inspirational female in Othello, standing by Desdemona even after her death, and revealing who is behind the deception of Othello up until she is killed for speaking out. The female characters in Shakespeare’s Othello shatter patriarchal constructs, examining how each female plays an integral part in the development of strong female role models throughout the play.

Bianca’s portrayal as a “prostitute” or “mistress of a brothel” often casts her in the role of a terrible person, the epitome of what is wrong in society. That being said, she still manages to play a major role in the breaking down of patriarchal constructs in society, and is reinforced as an outspoken, emotionally strong role model. Bianca is entirely devoted to her relationship with Cassio. Due to this extreme devotion and love, she is distraught and angry when she finds out the handkerchief Cassio gave her to copy, belongs to another woman. She approaches Cassio, who stands in front of Iago, and says:

“Let the devil and his dam haunt you! What did you mean by that same handkerchief you gave me even now? I was a fine fool to take it. I must take out the work? A likely piece of work, that you should find it in your chamber, and not know who left it there! This is some minx’s token, and I must take out the work? There, give it your hobby-horse. Wheresoever you had it, I’ll take out no work on ’t” (4.1.142-48).

This is a jarring statement. In Elizabethan society of the 1600s, males where seen as the primary holders of power and authority. However, Bianca puts this into question saying, damn you I will not copy this handkerchief, give it back to your whore. This shows how Bianca takes control of all moral authority by scolding Cassio for sleeping with an unknown mistress saying, let the devil damn you. Furthermore, Bianca embodies a strong female role model. In Shakespearean times women were commonly seen as reliant and subservient, doing as they were told. Contrasting this, Bianca says give it back to your whore as I will do no work on it. Bianca does not heed Cassio’s demands even though it is an insignificant task. This shows how Bianca’s strength of character, in denying to copy the handkerchief, outweighs the extreme love she has for Cassio. In addition, this reinforces Bianca’s belief that men must abide by the same rules as women, and if they do not consequences will occur. In turn, this demonstrates her belief in gender equality.

Bianca’s character is further developed as the play progresses. She responds unshaken to accusations or murder and being a whore, breaking down several gender stereotypes. Iago first indirectly accuses Bianca of murder saying, “This is the fruits of whoring. Prithee, Emilia, Go know of Cassio where he supped tonight. (to BIANCA) What, do you shake at that?” (5.1.116-18). However, Bianca does not take this insult to her character without a fight. She quickly fires back, “He supp’d at my house, but therefore I shake not” (5.1.119). Women in the 1600s were often seen as weak both physically but also emotionally. This statement demonstrates how Bianca is an extremely strong and resilient character. Having just learned of her lovers stabbing, Bianca is now being accused of the aforementioned crime. Undeterred by this terrible, heart wrenching set of circumstances, Bianca professes her innocence even saying she is not concerned. This breaks down gender stereotypes of Shakespearean times because Bianca does not act as a stereotypical, emotional, and weak minded woman. Typically women of this time would break down crying at the knowledge of their lovers stabbing and not have the presence of mind to proclaim their innocence. Furthermore, both Iago and Emilia then go on to call Bianca a prostitute, but Bianca replies "I am no strumpet; but of life as honest…as you that doth abuse me" (5.1.122-24). This shows how Bianca is an amazing role model for every women. Bianca, having been called a whore, prostitute, and even mistress of a brothel by almost every character in the play, has finally had enough and states, she is as honest a person as all the people who call her these terrible names. This is a shocking revelation by Bianca as she lives in a time when women are judged based on their sexual history and class in society. However, she likens her honesty to that of high ranking men. This demonstrates how Bianca vouches for herself standing up to both Emilia and Iago, stating that she is just as good as them no matter her past or unproven rumors about her. As a result, it is without a doubt that Bianca plays a quintessential role in the development of intelligent, strong female role models and the breaking down of patriarchal constructs and gender stereotypes, as she reveals her true colours throughout the play.

When discussing the impact of Bianca on creating strong female role models in Othello, the role of Desdemona cannot be overlooked as she is one of the most influential women in the entirety of the play, breaking down patriarchal constructs and gender stereotypes that plague her society, all the while establishing herself as an independent and outspoken role model. From the first act of the play the audience learns that Desdemona has eloped with Othello without the arrangement or even permission of her father. Iago begins speaking to Roderigo just outside Brabantio’s house. He declares that the elopement was a complete surprise and Roderigo answers, "Thou told'st me thou didst hold him in thy hate" (1.1.7). Then several lines later Iago says to Brabantio, Desdemona’s father, “Even now, now, very now, an old black ram Is tupping your white ewe” (1.1.91-92).  This depicts how Desdemona breaks down patriarchal constructs. In the 1600s, families, and more specifically fathers, of the soon to be brides were held with the duty of finding a suiter for their daughter that they deemed appropriate. Jeffery Singman notes  “Whereas a male child might have some expectation of moving to a position of relative social and economic independence at some point in his life, a girl would exchange subordination to her father for subordination to an employer or husband. Only a widow was a woman legally recognized as an independent woman” (Singman 18). This large system which governed Shakespearian society, in a formal nature, was controlled by men. It acted as a patriarchal construct that treated women as subordinate and unable to pick their own husband. However, Desdemona did not let her society and a common set of beliefs obstruct her. She moved forward without her fathers knowledge, marrying a black man, which was extremely controversial in that time period. This is proven when Iago refers to Othello as a “Black ram” who is having sex with Brabantio’s “white ewe”. Furthermore, Desdemona’s actions depict her as an amazingly courageous female role model. This is because Desdemona acts autonomously from her father and does not conform to both her societies extremely racist and prejudiced views, and the way in which spouses are chosen.

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