This is a character grid which identifies four key themes in relation to the character of Bianca in 'Othello', exploring these in detail. These headings make the basis for a thorough essay/exploration of the character and all assessment objectives required in the A level exam are touched upon. Henc...
Voiceless victim: Lover:
Bianca is seen only in relation to the male characters, who always seem to leave her in a Genuine feelings for Cassio. In this sense, she ali
vulnerable position. Cassio sees her as a stamp on his reputation, and only uses her, and tenacious commitment to the man she loves. In
Iago accuses her of involvement in the plot to kill Cassio to distract attention away from It is possible that Bianca fears losing Cassio wou
himself. Cassio tells us that ‘she haunts me in every plac
She is a contrast to Emilia and Desdemona as she is not a part of the domestic world in but there is also a sense that Cassio wishes to es
which they belong; this immediately casts her from the kind of femininity that Desdemona Bianca’s unfounded jealousy about the handker
is said to possess ‘some token from a newer friend’ (Act 3.4); ‘som
When Cassio sends her away because he doesn’t want to be seen with her, Bianca says: ‘Tis highlights the extent to which she cares for Cass
very good, I must be circumstanced.’ (Act 3.4) Her words reveal her powerlessness, as Outwardly to Bianca, Cassio tells her he loves he
Bianca simply has to be content with the way men treat her, just like Desdemona. Her (Act 3.4) But in reality, he sees Bianca as a stain
acceptance of Cassio’s authority perhaps foreshadows Desdemona’s words and actions in doesn’t see him ‘womaned’. He is clearly using B
the final scene. powerlessness is made clear here.
Bianca only appears in scenes with other male characters whom take advantage of her – Act 3.4- ‘What, keep a week away? Seven days
this raises the idea that Bianca’s identity can only exist in the context of her job and even absent hours More tedious than the dial eights
her love for Cassio cannot truly give her an identity of her own. Cassio.
A03- Bianca only has a total of 15 lines in the whole play, symbolising her voicelessness. Act 4.1- Cassio tells Iago: “She is persuaded I wi
A03- because she is a courtesan, Bianca’s only power lies in her ability to attract customers. out of my promise”
If they chose to abuse her, Bianca’s voice counts for nothing because her profession makes In private, Cassio uses coarse language to refer t
her morally dubious. much does he actually mean this however, and t
A03- Married women were given ideal status because they were ruled by their husbands. his reputation around the other male characters
Prostitutes were not acceptable in society because they were governed by no man- they In Act 5, Bianca’s genuine love for Cassio is seen
can move freely and even control men with their acts. This explains why the male faints! O Cassio, Cassio, Cassio!’ Her constancy
characters in the play look down on her. A03- Unlike the stereotypical crude and aggress
A03- In many previous productions of Othello, that character of Bianca was actually faithful lover.
removed as a result of social views of sex workers. A03- As a courtesan who falls in love with a clien
A03- Venice had a reputation for its courtesans, and in Renaissance Venice there were two A05- Matt Simpson has commented that Bianca
classes- the intellectual courtesan, and the lower-class prostitute. There were even A05- Marian Cox commented on how in this per
guidebooks with the names, addresses and fees of the most prominent prostitutes. when Iago jokingly proposes that he marry her.
A03- Fornicating women were considered a threat to the church and to the fabric of
society; they were blamed for leading men astray, destroying their honour and bringing
shame on the extended family.
A05- Matt Simpson: ‘Bianca is, like Othello and Cassio, an outsider.’
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