Explore Shakespeare’s presentation of the character Desdemona in Othello

Introduction

• Shakespeare presents Desdemona as a character who defies the expectation of her patriarchal society, yet ultimately becomes a tragic victim to it

• Shakespeare uses the construct of Desdemona to explore the different archetypes and myths that surround feminity

• Through her relationship with Othello, idolisation, and defiance, Desdemona embodies both the strength and vulnerability of women in a restrictive, male dominated world

A symbol of Idealised Virtue

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• ‘hail to thee, lady and the grace of heaven’

• ‘white ewe’

• “rose-lipped cherubin”

• “blessed condition” “divine” “virtuous”

• “a maid so tender fair and happy”

• “the riches of the ship”

• “he hath achieved a maid that paragons description and wild fame, on that excels the quirks of blazoning pens”

• “most fresh and delicate creature”

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• religious imagery/allusion

• antithesis to Bianca

• metaphor

• objectification

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• Desdemona is pushed into one of the four Jacobean archetypes of femininity (the maiden) by the men around her - they are narratives constructed to serve a men’s needs

• Morality play = Desdemona can be seen as representing virtue of goodness, battling Iago (vice) for Othello’s soul - typical Shakespeare

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• ‘Desdemona is often seen as a victim of the male gaze in Othello, objectified by the male characters who project their desires and fears onto her’ - Sarah Brown

• Psychological perspective = Madonna-Whore Complex - a man’s inability to see women as whole individuals: either chaste or whore

‘hail to thee, lady and the grace of heaven’ ‘Divine’

• “grace of heaven” = gives her distinctive attributes associated with the virgin Mary

• Virgin Mary is looked to for intercessiin by Catholics - similar to Cassio asking her to speak to Othello

• “hail to thee” = echoes words designed to recekl the Rosary

“white ewe”

metaphor = reduced to an object of purity, innocence and submissiveness

“rose-lipped cherubin”

showing she is an angelic beauty - Cherubin is a powerful angelic being in religious texts

“he hath achieved a maid that paragons description and wild fame, on that excels the quirks of blazoning pens”

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• Archetypes of femininity = pushed into one of the four Jacobean archetypes of femininity- the maiden - by the men around her

• Renaissance = Desdemona fits the Renaissance ideal of feminine virtue

• Psychological perspective = Madonna-Whore Complex - a man’s inability to see women as whole individuals: either chaste or whore

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‘Desdemona is a victim of the make gaze- objected by the male characters who project their desires onto her’ - Brown

• displays how the male characters don’t see her as an autonomous person

• they see her as a blank canvas onto which they project their own ideals

• note that she is described by other characters while characters, such as Iago (“I am not what I am”) or Othello (“my parts my title my perfect soul”), describe themselves - shows lack of autonomy

Deviates from the stereotypical Submissive Woman

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• ‘Desdemona acknowledges her past loyalty to Brabantio but asserts her new ‘divided duty’ and allegiance to Othello

• ‘our generals wife is now the general’ ‘o my fair warrior ’ = bitter remark implies that Desdemona wields power over Othello, suggesting a role reversal

• ‘If I do vow a friendship, I’ll perform it to the last article’

• ‘your daughter hath made a gross revolt” “our great captain’s captain” “maiden never bold”

• paragon of virtue = “a maid so tender, fair and happy” “delicate youth” “riches of the ship” (objectification)

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• In Jacobean society, women were expected to be silent, obedient, and chaste, confined to domestic spheres and subject to male authority.

• Desdemona’s assertiveness and moral clarity challenge these norms. Her character echoes other early modern tragic heroines like Juliet and Cordelia who question or resist patriarchal control.

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• AC Bradley “Desdemona is helplessly passive. She can do nothing whatsoever. She cannot retaliate even in speech”

• Bradley views Desdemona as entirely submissive, lacking agency or ability to defend herself - disagree

Victim of Male jealousy and manipulation

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• ‘look to your wife; observe her well with Cassio’ = Iago’s manipulative prompting feeds Othello’s insecurities, positioning Desdemona as an object of suspicion

• ‘they eat us hungrily and when they are full, the belch us’ = comments how men use and discard women - Desdemona’s tragedy illustrates this as Othello turns violently against her once his jealousy is stoked

• ‘nobody. I myself. Farewell’ = in an act of tragic loyalty, Desdemona protects Othello - this ultimate submission and forgiveness reveal the destructive effects of male jealousy

• “look to her Moor, if thou hast eyes to see she has deceived her father and may thee” = foreshadowing?

• “whore of Venice” "

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• In Renaissance drama, female infidelity was a common tragic motif - Iago weaponises these fears to destroy Desdemona’s reputation

• In accordance with the Chain of Being, a failure of reason was the cause of the fall of man

• Psychological perspective = Madonna-Whore Complex - a man’s inability to see women as whole individuals: either chaste or whore

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Model Paragraph

Shakespeare uses religious imagery to present the ‘blessed’ Desdemona as a symbol of idealised virtue. This use of religious imagery acknowledges Desdemona as the ‘grace of heaven’ which gives her distinctive attributes associated with the Virgin Mary, the mother of God. The Virgin Mary is also looked to for intercession by Catholics, which is similar to Cassio’s request for Desdemona to talk to Othello on is behalf. This characterisation places her on an ethereal level of purity and grace to emphasise her moral innocence and good-natured persona. The ‘hail to thee’ echoes words designed to recall the Rosary, suggesting that Desdemona’s ‘blessed condition’ is worthy of praise and exhalation. Desdemona is pushed into one of the four Jacobean archetypes of femininity - the maiden - by the men around her. Perhaps Shakespeare shows how the idolisation of women can be utilised by men to keep women within a domestic sphere. This is further evoked by Iago’s metaphor of a ‘white ewe’, which reduces he to an object of purity, innocence and submissiveness - fitting the Renaissance ideal of feminine virtue. Critics such as Brown have supported this by arguing that ‘Desdemona is a victim of the male gaze - objectified by the male characters who project their desires and fears onto her’. This displays how the male characters don’t see Desdemona as an autonomous person, but as a blank canvas onto which the projects their own ideals.