Representation of Gender Within Shakespeare's Othello
Women are always victims because it is men who determine social organisation. Considers the ways in which the representation of men and women in Othello supports or challenges this assumption.
{?Women are always victims because it is men who determine social organisation.? Consider the ways in which the representation of men and women in Othello supports or challenges this assumption.}
Shakespeare's tragic masterpiece Othello contains many complex layers and issues that can be found by reading deeply into the play, and not simply reading it as a simple narrative. One such issue that is important in the play is how the women are portrayed as victims due to men determining social organisation. This conception is supported throughout the play through the representation of men and women. The play is divided into two distinct sections, Venice which is a site of order and the island of Cyprus a site of disorder and anarchy. Both settings allow for demeaning portrayal of women and their position within the patriarchal society of the day showing that social conditioning in the men's favour turn them into victims.
Venice at the time was a bustling trade centre of the world in many differing commodities including women. From what is shown of Venice, it seems that a woman was designated as a prize or a asset to her husband (owner). This is demonstrated by Iago commenting in regard to Othello ?tonigh he heath boarded a land carrack If it prove a lawful prize, he?s made for ever?, this demonstrates Iago?s conception that firstly Othello is a pirate turk, and also that he has captured treasure of Desdemona, making it seem like love is a second wheel to the actual possession of a wife and the the extra power it conveys on him. In the court of the Duke of Venice the male characters have a extensive colloquy that does to a great extent objectify the character of Desdemona. The male characters showing their contempt for females in general, and treating Desdemona in her presence and absence as a object that is able to be possessed really displays the prominence of the marginalisation of women. Brabantio and also Othello are paramount in the ?trading? of Desdemona, Othello says ?For such proceedings I am charged withal - I won his daughter? (Act 1, Sc 3, 93-94). This shows that even Othello who is portrayed as a noble and good man, sympathises with the idea of women being property, having ?won? Desdemona. Brabantio is also of the idea that Desdemona is his property as is displayed by him expousing ?She is abused, stol?n from me, and corrupted? (Act 1, Sc 3, 60) as if she is a inanimate object. The victimisation of woman is also very clearly seen through what Desdemona utters in Scene three. Desdemona says when asked where she owes her ?obedience?;
?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 show'd
To you, preferring you before her father,
So much I challenge that I may profess
Due to the Moor, my lord. ?
This very submissive speech shows that Desdemona realises her postion within society and is a victim of harsh social conditioning giving her inferior status and minimal outlet for any of her own feeling or emotions because of the male dominance.
Sexual promiscuity is a central issue within the play, giving rise to much angst on the part of Othello and also the women of the play. The social conditioning of the Venetian and Cyprus societys asserted the sexual dominance of men. As is often the case also in modern society, men are placed as the active and primary initiator of sexual exertions. Women who attempt to or do initiate sexual contact are often labelled in derogatory terms, or are labelled in these terms if their actions or opinions do not meet the social conditioning that is befitted females. This occurrence is especially evident in the second setting of Othello, the island of Cyprus. The island of Cyprus is a setting of disorder and a place with social conditioning that is even more oppressive of woman. In the first scene in Cyprus, Iago whom has perhaps the most misogynist attitude says to Desdemona and Emilia ?You rise to play, and go to bed to work.?(Act 2, Sc 1, 114). This shows that even women who have husbands and fathers in powerful positions are still considered by Iago to be prostitutes and objects. Throughout the play Iago is the most uncouth and misogynist in terms of women in both Venice and Cyprus. He says to his wife ?A good wench! Give it to me? when she has Desdemona's handkerchief for him, and is party to speculation regarding whether Bianca a prostitute while he is in Cyprus. And before in ordered Venice his mouth is also foul, telling Brabantio in detail among other things that that his ?an old black ram is tupping your white ewe? (Act 1, Sc 1, 90) a image with quite bestial connotations. There is no change in Iago?s conception of women between settings, this shows that his idea of the social standing of women stays at the same low level and his treatment and opinions of women cause them to become victims.
The lack of representation that is given to women in ?Othello? is a potent illustration of the victimisation and marginalisation of women. Throughout the play there is only three main female characters, compared with scores of male characters. Within the male cast list there is characters such as messengers, soldiers and sailors who have very little impact if any on the story and development of the plot and theme. If these male characters that have little impact on the story are introduced, then the wives of important male characters such as Brabantio should also be introduced. The minor female characters being omitted shows very clearly to the audience that because of the social climate that the play is set in, women who are related to important male characters are considered secondary to insignificant male characters such as a clown. This again enforces the idea that women are victims because of the male dominated social conditioning.
The portrayal of female suffering in Othello is a bold display of how marginalised and how low they are made to be on the social ranking. The female suffering within Othello is caused solely by the actions of men. It is shown that the killing of women is a fit punishment for someone whom is not supportive of their husbands dishonesty (Emilia) or for implied unfaithfulness (Desdemona). This is completely different for men, Iago who's dishonesty and evilness was the cause of all disharmony is not killed, and Cassio who is portrayed as somewhat of a playboy or womaniser does not face any consequences for this. The social conditioning is such that men may do almost whatever they wish without fear of retribution in the form of death, yet women must not do anything that could be construed as offensive in the eyes of her male husband/owner. A measure of how subordinate the women had become to their domineering husbands is their attitude when facing death, Emilia sings the ?willow song?, the song of forsaken lovers, and Desdemona says when asked who has mortally wounded her ?Nobody; I myself. Farewell: Commend me to my kind lord: O, farewell! ? (Act 5, Sc 2, 125-126). This really does show that even when facing death women are the real victims of ?Othello? because of the social conditioning of the time.
Women are not the only victims in ?Othello?, men that have, or have acquired feminine qualities also become victims. A good example of this is the love sick and effeminate Roderigo who is a character that is overrefined and lacking in stereotypical masculine attributes. Because of his female qualities he is picked by Iago to be used to further his own cause until the expiration of his usefulness, ?I have rubb'd this young quat almost to the sense? quat meaning boil or spot. And also as a source of income ?Of gold and jewels that I bobb'd from him, As gifts to Desdemona? (Act 5, Sc 1, 11-17). Othello from being a battle hardened warrior, after marrying Desdemona becomes less unfeeling and also more effeminate, ?So justly to your grave ears I'll present How I did thrive in this fair lady's love? (Act 1, Sc 3, 125-126). After Othello arrives at Cyprus his hard military side drops away even more, and reveals a insecure man, overrun by many unfamiliar emotions which are made stronger by consummating his marriage. This tender side of Othello can be seen right until he kills Desdemona, even wavering at the last minute after kissing her tenderly. Iago takes advantage of these traits of Othello and Roderigo so to further his own purpose. The victimisation of men draws interesting connections between the suffering of men and women in the text, showing that in ?Othello? men who are in some respects effeminate can be victims of social organisation in the same way women are.
When studying ?Othello? closely the social climate and value system that exists becomes clear. It is shown to the reader in no uncertain terms that it is women who are the victims because it is men who determine social organisation. The victimisation of women and to a lesser extent men, displays clearly what social conditioning was the norm. Shakespeare gives to the reader a exhibition of how downtrodden women can be when in proximity to men's ?Vaulting ambition, which o'erleaps itself? and their inherently sexist attitude towards the subordinate women of the play. By probing into aspects of the portrayal of men and women, is is shown that women are always victims because it is men who determine social organisation.
