Shakepeare makes the audience aware of Iago and his evil intentions throughout the play, so we have sympathy for the other characters from the outset. He appears very cruel and sadistic towards his wife Emilia. In the first act he suggests that she has been unfaithful to him with Othello who “’twixt my sheets He’s done my office.” (I.3 381) Iago even suggests that Cassio is sleeping with her, “For I fear Cassio with my night-cap too.”(II.1-2 298) Unlike Othello and Desdemona, Iago and Emilia are not a happy coupling. Iago constantly puts Emilia down and he rejects her genuine desire to love and please him, making her become cynical of her “wayward husband.”
However, much Iago taunts Emilia she still strives to be loyal and endeavours to please her husband. When she and Desdemona talk with Cassio about his dismissal, she confirms that “it grieves my husband as if the case were his ”(III.3 ), ironically not realising just how much she is working for her husband and toward his evil plan. Moreover, when Desdemona, out of genuine concern for her husband tries to use her ‘love-token’ handkerchief to ease his headache drops it accidentally, Emilia is quick to remember how Iago, “hath a hundred times wooed”(III.3 290) her to steal it. However, Shakespeare lets the audience know that she has no realisation of his wicked intentions “ What he will do with it, heaven knows, not I:” (111.3)
In act II both Desdemona and Emilia are quick to defend themselves and their sex when Iago crudely attacks females as “ wild-cats in your kitchens, saints in your injuries,devils being offended………….in your beds.” (II.i 110) Emilia informs Iago “ You shall not write my praise.” Furthermore, Desdemona dismisses Iago’s, boorish and lewd attack as “heavy ignorance” and his views of women as a “most lame and impotent conclusion!” Indeed she is quick to advise to her female companion, “Do not learn from him, Emilia, though he be thy husband,” revealing again her strong-willed nature. This bawdy exchange between Desdemona and Iago has been viewed as controversial as some critics are uncomfortable with Desdemona participation. However, Shakepeare needed to convey her playful sexuality as Desdemona’s sexual attractiveness is paramount to the plot, as it is this that leads Othello to question her fidelity.
Desdemona has to defend herself constantly throughout the play. Firstly to her father for her choice of marrying Othello and then almost immediately she is put in the position of having to defend her fidelity to her husband. It is ironic that at the beginning of the play she is presented as a strong independent person but then has to convince her husband she in not too independent. Unfortunately it is her constant, passive and good nature that plays directly into the evil hands of Iago. Although always keen to please her husband, she is self-assured and confident enough to become involved in his military affairs, when she is adamant that she will be able to talk Othello, “out of patience” (III 3 ) and get Cassio reinstated. It is through her strong pleading for this “sufficient man” (III.4 89) that enables Iago to poison Othello’s mind, “I’ll pour this pestilence into his ear:” (II.3. 347)
Throughout the play, Shakespeare uses the imagery of “fruit”, “appetite” and “food” to convey sexual hunger, sexual appetite and lust. Emilia shows her cynicism and strong wit when she comments, “’Tis not a year or two shows us a man. They are all but stomachs and we all but food.” (III.4) Moreover, in act four she reveals to a rather naïve Desdemona that women can be unfaithful, and just as men they can have, “Palates both for sweet and sour.” Shakespeare, here shows how revolutionary he was for a seventeenth century writer putting forward a feminist point of view. However, it is sadly ironic that Othello declared early on, “therefore beg it not To please the palate of my appetite.” (I.3 258) In other words he was not taking Desdemona for lust but out of his true love and need for her to be his wife.
Bianca, the only other female character in the play, like Desdemona and Emilia too is wrongly misrepresented and abused by the male characters. She clearly loves Cassio and is an affectionate and genuine partner. However, she is always in a vulnerable position as Cassio’s description of himself as her ‘customer’ suggests that she was a prostitute, his courtesan. Just like Desdemona and Emilia she has to withstand the wrong evil accusations of Iago. When he tries to implicate her to Cassio’s wounding she finds herself too having to defend herself, again Shakespeare uses dramatic irony,
“I am no strumpet, but of life as honest
As you that thus abuse me.” (V.I 122)
Although the women are passive victims in the play it is noteworthy that Bianca the least powerful figure is ironically the only female survivor.
Another display of Desdemona’s strength of character is when Othello publicly hits her, rightly affirming, “ I have not deserved this.” However, Desdemona instead of staying and pleading more strongly of her innocence rather submissively leaves, “ I will not stay to offend you.” (IV.1) Without question, it is in the final two acts that Shakespeare strongly portrays Desdemona as a passive and loyal wife to her husband. She becomes almost resigned to her fate and prophetically pleads in the ‘willow song’ Let nobody blame him; his scorn I approve.” (IV.3) Moreover, even on her deathbed she tries to save Othello from blame, “Nobody – I myself – farewell.”
To conclude, Shakespeare presents the women in his play as hapless victims of the male characters in the play. He conveys their genuine love and loyalty to their respective partners, yet gives them a voice to speak of feminist issues. It is Shakespeare’s portrayal of strong – willed women that probably has made his plays, and will continue to make his plays popular with audiences.
