2018 Othello – William Shakespeare
‘Ultimately it is hard to see Emilia as anything
other than a tragic victim of male power and
malice.ʼ
2018
Othello – William Shakespeare ‘Ultimately it is hard to see Emilia as anything other than a tragic
victim of male power and malice.ʼ To what extent do you agree with this view? Remember to
include in your answer relevant comment on Shakespeareʼs dramatic methods. [25 marks]
Emiliaʼs perspective of women being a refreshing counterpart to Desdemona and Iago.
Emilia stealing the handkerchief as the catalyst of the play.
Emilia being a victim to men.
Emilia revealing Iagoʼs schemes at the end of the play as her redemption.
Typical to tragedy texts, Othello presents numerous tragic victims who experience their own
consequences of the tragic heroes downfall. This idea of ‘collateral damageʼ was popularised by
Shakespeare himself resulting in his tragedies plays becoming more interactive, as the fate of
the tragic hero already seems clear, the mystery of how the orbiting characters will be affected
remains blurry. One of these tragic victims is Emilia who plays a significant role within the
tragedy. In this essay I will discuss to what extent she is ‘anything other than a tragic victim of
male power and maliceʼ.
As we are initially introduced to Emilia in Act II Scene I she is presented in correlation to Iago
who speaks misogynistically while she only delivers a curt response “you shall not write my
prayers”. In a similar way to her husband, she appears to be of a lower socio-economic position
than the couples parallel Othello and Desdemona, and this therefore prevents Emilia from
standing up to Iagoʼs gender bigotry publicly although she refutes it privately with Desdemona
in Act IV. Immediately, her tragedy is therefore depicted as one of a woman stuck in a lower-
class position so she is unable to fall back on financial support in the same way Desdemona
would have been able to. Through this her tragedy appears as being one of a woman who is
forced to value survival over her own moral values causing a source of agony for her throughout
the play. Her situation is therefore parallel to that of Iagoʼs whose struggle is also that of the
worker overlooked for a promotion by Othello. She becomes a tragic villain by male actions
against her as the play progresses but also begins the play a victim of her gender and class
position. However, as these same oppressive structures in 16th century society were built by
men it can be argued that she begins the play an already tragic victim.
Yet, it is important to realise that Emilia is not just a victim, and this makes her character more
interesting. Emilia is also the character who steals Desdemonaʼs handkerchief passing it to her
‘Ultimately it is hard to see Emilia as anything
other than a tragic victim of male power and
malice.ʼ
2018
Othello – William Shakespeare ‘Ultimately it is hard to see Emilia as anything other than a tragic
victim of male power and malice.ʼ To what extent do you agree with this view? Remember to
include in your answer relevant comment on Shakespeareʼs dramatic methods. [25 marks]
Emiliaʼs perspective of women being a refreshing counterpart to Desdemona and Iago.
Emilia stealing the handkerchief as the catalyst of the play.
Emilia being a victim to men.
Emilia revealing Iagoʼs schemes at the end of the play as her redemption.
Typical to tragedy texts, Othello presents numerous tragic victims who experience their own
consequences of the tragic heroes downfall. This idea of ‘collateral damageʼ was popularised by
Shakespeare himself resulting in his tragedies plays becoming more interactive, as the fate of
the tragic hero already seems clear, the mystery of how the orbiting characters will be affected
remains blurry. One of these tragic victims is Emilia who plays a significant role within the
tragedy. In this essay I will discuss to what extent she is ‘anything other than a tragic victim of
male power and maliceʼ.
As we are initially introduced to Emilia in Act II Scene I she is presented in correlation to Iago
who speaks misogynistically while she only delivers a curt response “you shall not write my
prayers”. In a similar way to her husband, she appears to be of a lower socio-economic position
than the couples parallel Othello and Desdemona, and this therefore prevents Emilia from
standing up to Iagoʼs gender bigotry publicly although she refutes it privately with Desdemona
in Act IV. Immediately, her tragedy is therefore depicted as one of a woman stuck in a lower-
class position so she is unable to fall back on financial support in the same way Desdemona
would have been able to. Through this her tragedy appears as being one of a woman who is
forced to value survival over her own moral values causing a source of agony for her throughout
the play. Her situation is therefore parallel to that of Iagoʼs whose struggle is also that of the
worker overlooked for a promotion by Othello. She becomes a tragic villain by male actions
against her as the play progresses but also begins the play a victim of her gender and class
position. However, as these same oppressive structures in 16th century society were built by
men it can be argued that she begins the play an already tragic victim.
Yet, it is important to realise that Emilia is not just a victim, and this makes her character more
interesting. Emilia is also the character who steals Desdemonaʼs handkerchief passing it to her
