How Is Emilia Presented In Othello
In 1603, William Shakespeare wrote a tragedy called Othello about a Spanish moor that ultimately fell victim to his own skepticism and emotions and murders his wife due to the machinations of his ancient, Iago. Iago is the most interesting character in this Shakespearean play and in fact, has more speaking parts than even Othello himself. A man that can even convince his own wife to help with his masterfully manipulated puppetry of Othello, Desdemona, Roderigo, Cassio, and Emilia is an exquisite character. This villain seemed to have no real motive for his actions, but the enjoyment of the trouble he caused and the fact that Othello passed him over for his lieutenant. Although, Iago seems to quite, passionately want Othello’s affections, whether
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42, Bacon 151). “The Idols of the Cave are the idols of the individual man. … Which refracts and discolors the light of nature, owing either to his own proper and peculiar nature; or to his education and conversation with others” (Aph 42, Bacon 151). The manner in which Emilia does this is by the way she obeys and the nature of how she views her abusive husband. “My wayward husband hath a hundred times, woo’d me to steal it; but she so loves the token” (Act 3, Scene 3 837). The connotation of the word “wayward” establishes that Emilia does not see her husband as truly evil, nevertheless she just sees a man that has in a sense turned away or lost his way. On the contrary, Iago’s wife clearly admitted that her husband had convinced her to steal Desdemona’s handkerchief that was given to her by the Othello. Emilia becomes a character the reader begin to question if she is as evil as her counterpart, or is just playing the role of a good wife living in the 16th century. She says, “And give’t to Iago: What he will do with it heaven knows, not I; I nothing but to please his fantasy” (Act 3, Scene 3 837). To please her husband Emilia will do what he asks and does not question her husband’s motives at all. This paints her in a sad, yet pathetic picture of the lowly wife who could hold innate goodness, but shares the fate of her husband, Iago. After she provides the handkerchief for him he calls her “a good wench” and says, “Give it to me” (Act 3, Scene 3, 838). The abuse she suffers at the hand of her husband does not become physical till near the end of the play. Instead, this abuse is mental and emotional as he treats her as if she is his slave to do his bidding with no explanation as to why. Emilia manages to partially redeem the evil she has helped create in the last act of the play. “No, I will speak as liberals
42, Bacon 151). “The Idols of the Cave are the idols of the individual man. … Which refracts and discolors the light of nature, owing either to his own proper and peculiar nature; or to his education and conversation with others” (Aph 42, Bacon 151). The manner in which Emilia does this is by the way she obeys and the nature of how she views her abusive husband. “My wayward husband hath a hundred times, woo’d me to steal it; but she so loves the token” (Act 3, Scene 3 837). The connotation of the word “wayward” establishes that Emilia does not see her husband as truly evil, nevertheless she just sees a man that has in a sense turned away or lost his way. On the contrary, Iago’s wife clearly admitted that her husband had convinced her to steal Desdemona’s handkerchief that was given to her by the Othello. Emilia becomes a character the reader begin to question if she is as evil as her counterpart, or is just playing the role of a good wife living in the 16th century. She says, “And give’t to Iago: What he will do with it heaven knows, not I; I nothing but to please his fantasy” (Act 3, Scene 3 837). To please her husband Emilia will do what he asks and does not question her husband’s motives at all. This paints her in a sad, yet pathetic picture of the lowly wife who could hold innate goodness, but shares the fate of her husband, Iago. After she provides the handkerchief for him he calls her “a good wench” and says, “Give it to me” (Act 3, Scene 3, 838). The abuse she suffers at the hand of her husband does not become physical till near the end of the play. Instead, this abuse is mental and emotional as he treats her as if she is his slave to do his bidding with no explanation as to why. Emilia manages to partially redeem the evil she has helped create in the last act of the play. “No, I will speak as liberals