This is one of several example essays. It is NOT a model essay. It is suggested that you read it and then refer to:

Transcription

1 LEA RN ER the learning centre S E R V I C E S Writing Skills/10 Example Essays/10.1 (Othello) Example Essay This is one of several example essays. It is NOT a model essay. It is suggested that you read it and then refer to: Writing Skills/Essay Skills/9.1 Essay writing: Learning from other students' essays Complete the questions on the sheet and in this way you will begin to build up a picture of how to write a good essay. Compare and contrast the roles and characters played by Desdemona and Emilia To compare and contrast the roles and characters played by Desdemona and Emilia, I will examine their attitudes, emotions and reactions to the same situations through the play. To begin with, I will look at how each woman is depicted by other characters. I will then discuss Desdemona and Emilia's impression on me when they are introduced into the play and how their personalities develop within the play. Their attitudes towards their husbands, and men and marriage in general will be focused on, as well as their relationship with each other. I will examine the differences in their language and finish by taking an in-depth look at the roles each woman adopts, in the face of death. We are first introduced to Desdemona by her father. He depicts her as "a maiden never bold" (1, lll, 94), a person so shy and timid she was even embarrassed by her own actions. Emilia is first mentioned to us by her husband Iago. He does not mention her by name, but refers to her as an object he suspects of being abused by the Moor: "Twixt my sheets He has done my office" (1, lll, 189). Desdemona evokes from Othello his most poetic and spiritual lines. (Although after the seduction of his mind by Iago, these lines are replaced with vulgar, coarse, sexist 1

2 imagery). At first he describes Desdemona as being a gentle and compassionate young woman who is bold enough to hint of her love for him. He talks in spiritual terms of their love: "My soul hath her content so absolute." (ll, l, 189). Later he emphasises her gaiety and gregariousness: "To say my wife is fair, feeds well, loves company, Is free of speech, sings, plays and dances well;" (lll, lll, 84). Othello places Desdemona on a spiritual plane. He cannot believe that such beauty could be evil: "If she be false, O! then heaven mocks itself. I'll not believe it." (lll, lll, 1). Even when he is murdering her he is tortured by her beauty. This torment is expressed in the lines, "Nor scar that whiter skin of hers than snow, And smooth as monumental alabaster" (V, ll, 273). Iago also recognises Desdemona's qualities of generosity, compassion and honesty. He conveys this in his lines "She holds it a vice in her goodness not to do more than she is requested." (1V, lll, 308) and "In any suit: she's framed fruitful As the free elements."(ll, lll, 327). Later Iago uses these qualities against her: I'll turn her virtue into pitch." (ll,lll, 346). In contrast Iago refers to his wife Emilia as a nag: "She puts a tongue a little in her heart, And chides with thinking." (ll, 1, 106) To Iago, Emilia only has one use and that is to be a pawn in his game of destruction. To him, her love and trust of him is only there to be utilised and manipulated: "My wife must move for Cassio to her mistress." He sums up his attitude towards Emilia in his line, "It is a common thing to have a foolish wife." (lll, lll, 304). However, later on it is Emilia who becomes Iago's main threat. When we meet Desdemona we find a bold, brave young woman who defies her father to marry Othello. She is more down-to-earth than Othello, which is apparent when she answers his poetic, spiritual lines of love, with: "But that our loves and comforts should increase/even as our days do grow!" (ll, 1, 193). Emilia, at first plays a more subsidiary role. Although, as each situation arises her strength of character and wisdom manifests itself, until at the climax of her role we can see Emilia as the strongest, most honest and righteous character to emerge. In contrast, Desdemona's primarily apparent qualities dwindle away as each new situation arises. After becoming bewildered and child-like, the final assault on Desdemona's innocence turns her into a forgiving, saintly, religious sacrifice. Desdemona ends up accepting any evil as her fate. Emilia stands up to it and fights back. 2

3 Emilia and Desdemona's relationship is a close one. Emilia is devoted to her mistress and loyal until the very end. Desdemona is unconsciously reliant on Emilia's wisdom and her knowledge of men. Their relationship is almost that of mother and child, with Desdemona taking on the latter role. However, it is important to remember Emilia's split loyalties. Her obedience and devotion to her husband play a crucial part in the downfall of her mistress. This must be taken into account in a later paragraph when examining Emilia's character and role after she makes this terrible discovery. Each woman has a totally opposite attitude towards men and marriage. In this respect we can see Emilia as a modern woman, a feminist before her time. Desdemona can be perceived as being old fashioned and idealistic. It is Emilia who detects the first signs of jealousy, because from experience she knows that men get jealous. Her wisdom emerges as ironically she echoes Iago's words on jealousy: "tis a monster, Begot upon itself, born on itself." (lll, iv, 159). Desdemona's sheltered life has not prepared her for such day to day passions and her inexperience of the opposite sex is apparent in her line: "I think the sun where he was born/ Drew all such humours from him". (lll,1v, 30). The major contrast of the two women's view of men and marriage comes to light in a touching scene, where they discuss adultery. Desdemona cannot believe that any woman would commit adultery. She is shocked when Emilia asks if she would not and replies: "No by this heavenly light!" (lv, lll, 1). Desdemona's naivety is magnified by Emilia's strong down-to-earth speech. In this speech, Emilia expresses her belief in equality. She asks why it should be acceptable for men to be unfaithful and not for women. Her worldliness becomes evident as she talks of the childish and selfish behaviour of men towards women: "As they pour our treasures into foreign laps,/ Or else break out in peevish jealousies." (lv, lll, 86). Whilst she condemns men for neglecting their wives and then being surprised if their wives rebel, she seems confident of retaliation: "Yet we have some revenge. Let husbands know/ Their wives have senses like them;" (lv, lll, 91). Emilia's sense of justice is also apparent in her rhetorical question, "and have not we affections,/ Desires for sport, and frailty, as men have?" (lv, lll, 98). Her conclusion on such contradictory ideals is that the bad behaviour of a woman is only a reflection of her husband's behaviour. 3

4 Desdemona's contrasting view of womanhood within marriage is summed up with her saintly reply, that we should not imitate such bad examples but learn from them. The view of both women to their husbands takes different paths at the end of the play. Desdemona loves Othello consistently, even when she is baffled and upset by his behaviour: "my love doth so approve him,/ That even his stubbornness, his checks and frowns,." (lv, lll, 1) Even when her husband was murdering her, Desdemona does not blame him. She saw marriage as a Christian sacrament and that whatever happened he was still her husband. She did not alter her love even in the face of irrational passion. In this way, Desdemona exemplifies romantic love. Emilia was loyal and devoted to her husband. She took his underlying aggression and hatred as teasing, referring affectionately to him as "My wayward husband" (lll, lll, 292). She thinks her husband compassionate: "I warrant it doth grieve my husband" (lll, lll, 3) and any guilt she may have at giving him Desdemona's handkerchief is smothered by her love and faith in him: "I nothing but to please his fancy." (lll, lll, 2). At the shocking discovery of the truth, Emilia's view of her husband is shattered. Her realisation is made worse because of the part she took in it. It is at this time of this horrific discovery that Emilia comes into her own. Unlike Desdemona, Emilia puts justice before her marriage. She puts the name of her mistress before her marriage and unlike the forgiving Desdemona, passes judgement on her husband: "may his pernicious soul/ Rot half a grain a day!" (V, ll, 154). The difference in their use of language indicates the disparities between the women's characters. Desdemona's language is romantic, poetic and spiritual: "I wonder in my soul,/ What you could ask me that I should deny," (lll, lll, 68). Her confusion is expressed in her paradox, "My lord is not my lord;" (lll, lv, 122). On the contrary, Emilia's language is much more basic. Her words do not fall from her lips as delicately as Desdemona's do, and her language conveys her sagacity and sometimes even bitterness: "tis not a year or two shows us a man;" (lll, iv, 101). The major contrast in language between the two women is in reaction to Desdemona's public humiliation. As Emilia's anger rises her language becomes direct and coarse: "He called 4

5 her a whore; (a beggar in his drink.") (IV, ll, 120). Her fury is reflected in her use of violent devil imagery: "A halter pardon him, and hell gnaw his bones!" (lv, ll, 136). In contrast, Desdemona cannot even bring herself to say the word "whore". She continues to use spiritual language even when referring to her slanderer: "If any such there be, heaven pardon him!" (lv, ll, 135). Even in the face of death, Desdemona's language remains spiritual: "No, by my life and soul!" (V, ll, 153). Emilia uses her language to defy the fear of death, "I care not for thy sword;" (V, ll, 163). The force of her words and her powerful imagery seem to lessen its threat: "O! the more angel she,/ And you the blacker devil." (V, ll, 156). Her terrible grief and anger are encapsulated in her tragic line, "Let heaven and men and devils, let them all,/ All, cry shame against me." In the face of death both women adopt opposing roles. Desdemona becomes a martyr, a holy sacrifice. She accepts her death as God's will and like Jesus forgives her murderer. In Desdemona's last saintly act, she blames her death on herself: "Nobody; I myself; Farewell:" (V, ll, 121). Emilia is heroic in the face of death. She is a symbol of loyalty and justice, putting her mistress's good name before her own. Her physical and mental courage excel as she castigates the crazed Othello and becomes the voice of vengeance on her husband. Emilia represents solidarity between women, this is echoed in the swan song which she dies singing. The theme of the song is of women being betrayed by their husbands. It reminds us of the close bond between Desdemona and Emilia and unites them in their death. The greatest similarity between Desdemona and Emilia is that they were both murdered by their husbands. Their downfall was undoubtedly their love and faith in their husbands and their trust of Iago. Both women's good qualities were used against them and led to their murder; Desdemona's generosity and compassion and Emilia's sense of justice and devotion. In the end, their contrasting characteristics and final feelings towards their husbands led them to the same fate words 5