Chapter Characters of The Tragedy of Othello, the Moor of Venice - Study Guide by William Shakespeare

This speech not only shows a certain strength of character but also shows her to be eloquent, a woman of upbringing and manners. Iago often refers with contempt to "Venetian women" and to Desdemona as one of these. Whilst he says this as "evidence" to prove her infidelity to Othello, his relationship with her and what he says of her is important. He plays word games with her on the shore when they arrive in Cyprus (2.1.117-160). His play is littered with innuendo: his muse "labours" and his invention "is delivered" (125- 128), he talks of "folly" (137) and "foul pranks" (142). Her part is playful, "Come, how wouldst thou praise me" (124)"How if..." (131, 135) but is also innocent. This is what Iago cannot understand. He cannot understand how any such play between man and woman can be non-sexual. This sort of playfulness, her well-bred manners and "courtesies" identify her as a "Venetian woman". But, in spite of her appearance, she is naive and her astonishment at unfaithful women, "there be women do abuse their husbands / In such gross kind?" (4.3.61-62) is genuine. She is not as worldly wise as she seems, "I do not think there is any such woman" (4.3.82).

Her love for Othello is not the sort of love that Iago ascribes to Venetian women. Her courtship was not one of playful word games. It was one in which, listening to Othello, her heart was "subdued / Even to the very quality of my lord" (1.3.251-2). Theirs is a unity of souls, "My soul hath her content so absolute" (2.1.189). It is a love that is pure and strong to the end, on both sides, despite the tragic end to their mortal relationship. It is an immortal love. For her love, she dies a mortal death but also an immortal death, perjuring herself with her dying words for love of Othello.

Her strength as a character seems to diminish in the second half of the play. She does not stand up to Othello with the boldness that she stands up to her father. She does not fight back with the vigour that Emilia fights Iago. But she is strong nevertheless, as strong as she is innocent. She is resolute in her obedience to Othello, her lord, because she knows that she is innocent. What can be seen is not a loss of strength but a naive bewilderment. She cannot understand, even when Othello tells her that he is about to kill her. All she knows is that she has done nothing wrong, that she loves Othello and that Othello loves her.

Emilia

Emilia is worth studying, particularly for her relationships with Iago and Desdemona. She is an important character as a go-between between the two. Iago is not good at handling women. He is unable to manipulate Desdemona as he is Othello. Emilia is a vital link in the formation of Iago’s plot. She provides the handkerchief that serves as the "ocular proof" which Othello demands of Iago as evidence of Desdemona’s infidelity.

Given Iago’s poor handling of women, how does he manipulate Emilia? It is partly through their duty- bound link of marriage but more importantly, it is through fear. Consider Emilia’s behaviour over the handkerchief. When asked by her mistress whether she knows where it is, she replies, "I know not, madam" (3.4.24). This short line is of great significance. Emilia lies to Desdemona. Is this through duty to her husband? Is it through love? The exchanges between Emilia and Iago suggest that there is little love left between them. This is hardly surprising given his attitude towards women and his treatment of her. In the end, her love of her mistress proves stronger than her husband who she damns with her confession. This may be the only time when she is asked directly whether she knows where the handkerchief has gone but Shakespeare deliberately has he present in the unpleasant scene between Othello and Desdemona when he asks Desdemona for it (3.4.32-99). So, why does Emilia not confess earlier to the truth about the handkerchief? It seems to be out of fear. This only is the control that Iago can exert over her.

Emilia’s knowledge of the truth of the handkerchief is important dramatically. She appears more and more suspicious of her husband’s scheming. She is puzzled by her husband’s curious interest in the handkerchief which he "hath a hundred times", "so often" been "so earnest" that she should steal (3.3.296, 312, 318). After witnessing the harrowing "handkerchief!" scene between Othello and Desdemona, she dares not confess but she understands that the situation is serious. She tries to warn the naive Desdemona