Key Themes in Othello


At the start of the play, Desdemona confronts patriarchal attitudes by asserting her independence. She chooses her own husband and defies her father by marrying someone from outside her own race. She is also rebellious in her desire to accompany Othello to Cyprus. The reaction to her unconventional behaviour clearly highlights how men constantly try to control women. Brabantio speaks of losing his ‘jewel’. Iago refers to Desdemona as if she were one of her father’s possessions, similar to his ‘house’ and ‘bags’. In his jealous rages, Othello continually reasserts his authority over his wife – both physically and verbally: ‘we can call these delicate creatures ours,/ And not their appetites!’


During the 16th century, Venice was known not only for its wealth and sophistication, but also for its casual morals. There were many courtesans in the city and Venetian women were often seen as immoral, something that Iago uses effectively to suggest that Desdemona is unfaithful. Only half- jokingly does he accuse all women of being prostitutes who ‘go to bed to work’. It’s evident that Iago resents Desdemona (the general’s ‘general’) since she is beginning to have more influence than him over Othello.


Iago’s apparent misogyny typifies his warped personality and his contemptuous view of human relations. Overall, Shakespeare does not present female sexuality in a negative light. Bianca expresses genuine feelings for Cassio and is determined to resist their divisive social backgrounds. Initially, Othello loves Desdemona very dearly. However, his outward devotion to his ‘soul’s joy’ is a reminder that women were generally regarded as either innocent and virtuous or shameless and promiscuous.


As a courtesan, Bianca is presumed to be untrustworthy and opportunistic, but she challenges these assumptions by being much more honourable than her lover Cassio, who treats her with little respect, seeing her as a mere ‘bauble’. Emilia also struggles to gain any happiness from her loveless marriage. In questioning the hypocrisy about marital infidelity, she is certain that the blame lies with men who ‘change us for others’.


Emilia’s cynical outlook is understandable, considering the years she has spent being controlled by Iago. Her disastrous decision to steal Desdemona’s handkerchief results from fear of


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Othello


displeasing him, even though this clashes with her loyalty to her mistress. Like the other female characters who try to assert themselves, Emilia is viewed as a troublemaker, simply because she dares to defy the balance of power in a predominantly masculine hierarchy. A good example of this occurs in Act 5 Scene 2, when she says, ‘I will not charm my tongue; I am bound to speak’.


To a great extent, the playwright presents traditional stereotypes about gender. Ironically, while Othello and Iago see themselves as powerful men, they are subject to petty insecurities that largely explain their severely dysfunctional relationships. Indeed, the play’s two marriages are marked by male envy and cruelty (both wives are murdered by their own husbands). In the end, cultural values ensure the victimisation of women in a male-dominated society.


Othello clearly highlights the destructive effects of patriarchy during Elizabethan times. However, Shakespeare leaves modern audiences with much to consider about gender and sexuality in the play. Some critics continue to view Desdemona as weak-willed and passive, while others admire her independent spirit. In the end, we are left to consider a fascinating world where public honour


she shall not live: no, my heart is turned to stone


Othello Act 4 Scene 1, l.196


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