Not only is Othello the head of the family, but he also has his own views of women. He makes this pretty clear with his conversation with Iago, where Iago is speaking of his wife's little escapades with Cassio. Othello responds to this by saying, “And yet, how nature erring from itself” (Act 3, Scene 3, Line 227). Meaning that because she is a woman, she can not resist herself from temptation. The next scenes show how his jealousy turns to a rage when he slaps his wife then gives a speech, which explains how his wife obeys his every command. “Ay! You did wish that I would make her turn. Sir, she can turn, and turn, and yet go on and turn again; and she can weep, sir, weep; And she's obedient; as you say, obedient. Proceed you in your tears. Concerning this, sir-O well-painted passion! I am commanded home. –Get you away; I'll send for you anon.-Sir, I obey the mandate And will return to Venice. -Hence, avaunt!” (Act 4, Scene 1, lines 252-260). This is one of most Chauvinistic comment of the entire play. This sums up the entire Othello opinion that starts off hidden at the beginning of the play, but emerges under anger.
The stereotypes of women's positions in this society were not stopped by the boundaries of economic class. Emilia is a perfect example of this because she is a hard working middle class woman, who still bears the burden of her husband's sexiest attitude. She believes that the purpose of a woman is to strengthen her husband, through any means necessary. She gives an example of this when she says, “Why, who would not make her husband a cuckold to make him a monarch? I should venture purgatory for't” (Act 4, Scene 3, Line 77-79). What she is saying, is that she is willing to sacrifice her body's purity in order to make her husband be more powerful. Something like this isn't just a response out of the blue, it must be driven into someone. Society is the hammer and chauvinism is the nail.
Another example of Emilia's desperate attempt to obtain her husband's approval is when she steals Desdemona’s napkin. Emilia then gives the napkin to Iago, without even thinking of the consequences. If she did not feel so unequal, she wouldn't have done this act in order to obtain a sense of approval. However without this kind of society, Shakespeare's plot would not work. Yet another example of how Shakespeare uses women to assist the play. However Emilia will start to break free from inequality when she stands up to her husband near the end of the book in act five.
Even in this book one can see how society is beginning to grow from it's primitive views. Where would chauvinism be in society if it were not for men, men like Iago. If ever there were a leader for a male dominant society this man would be it. Every word Iago speaks in reference to women, he devours their worth. In fact he even makes a speech about the purpose of women, “Come on, come on! You are pictures out of door, Bells in your parlours, wildcats in your kitchens; Saints in your injuries, devils being offended Players in your housewifery, and housewives in your beds” (Act 2, Scene 1, Lines 108-112). If this does not perfectly describe his view of women, then maybe the way he refers to even his own wife does.
Iago spends the whole play trying to achieve power, but any extra time he has, he goes out of his way to put down women. Society will always be filled with people like Iago who will never treat women with equality. The fact is that if women would have been treated with more respect and they were actually viewed as equals free to voice their opinions, then none of this play could have taken place. Othello would have talked to his wife, found out that Iago was lying and that would be the end of the play right there. Shakespeare needed this environment; he needed an Iago to make this play possible. Shakespeare uses women as major parts in his plays without having their lines bear serious significance. This in itself shows how the women can be compared to as victims of a male society.
In conclusion, the women are courageous and outspoken, but their roles are essentially passive. Emilia and Desdemona are in many ways the spiritual heart of the play - some scholars have likened them, especially Desdemona to the good “angel who appears in the old morality plays”, and also with more general Christian values. Her unswerving love for Othello is perhaps the central fact of the play. Bianca resembles Desdemona in her dignity. Shakespeare demonstrates the fact that Bianca is decent and sympathetic when she shows her real concern for her wounded lover Cassio. Their treatment of, and by men, throws up some interesting points of comparison. Desdemona alone recognises Othello's worth, and once committed to him she is steadfast, a quality that makes Othello's treatment of her seem all the more unjustified, tragic and terrible. The relationship between Bianca and Cassio is a kind of reverse image of that between Othello and Desdemona. Bianca, like Othello, is jealous of her partner, complaining that he avoids her and suspecting that he may have another lover. The difference, of course, is that her suspicions, unlike Othello's, are justified. Both women are treated badly .In Bianca's case, the prospect of real or imagined infidelity may have been inevitable, in view of the kind of relationship you would look for between a prostitute and a soldier.
