“How does Shakespeare present gender politics of the time in Act
4 Scene 3?”
In the domestic tragedy of Othello, Shakespeare explores gender politics through
the marriage of Desdimona and the protagonist Othello, and perhaps more
significantly, through the relationship between the characters of Emilia and
Desdimona. Shakespeare challenges contemporary beliefs via the juxtaposition
between the two female characters, as well as through the structure of his play.
In Act 4 Scene 3, Shakespeares contrasts the two female antagonist’s views on
male-female relationships, presenting the character of Emilia as worldly and
wise, whilst portraying Desdimona as both innocent and naïve, the ideal
demeanour of a woman. Throughout the scene Emilia educates Desdimona on
male jealousy and cuckoldry, explaining “they are all but stomachs and we are
the food/ they eat us hungrily, and when they are full / they belch us” The
metaphor compares sexual desire to gluttony, insinuating men seek satisfaction
and view women as merely a means to an end. Furthermore, they objectify
women as “food” and to “eat” them hinting at the violence and aggression
underlying male-female relationships. The unequivocal denouncement of
masculinity is presented in contrast to Desdimona’s unshakable love as she
explains, “my love doth so approve him/ that even his stubbornness, his checks
his frowns.”. She loves her oppressor. Because of this, Emilia’s down to earth
cynicism and wisdom aims to protect Desdimona from the men in her life.
Perhaps Shakespeare intentionally utilises Emilia as a character construct to
argue that the only people who can save women from male violence is women.
The playwright conveys how oppressed women were in the 16 th century through
the women’s contrasting beliefs on adultery when it comes to power. Emilia
argues, “who would not make her husband a cuckold, to make him a monarch?”.
This highlights that at the time, there was no mechanism to deploy any power as
a woman, so they must transfer it to their husbands. This contemporary reality
emphasises the unequal power dynamic in the world determined by one’s
gender; as well as conveying how powerless and oppressed women were. This
challenge to the typical power dynamic would have shocked a Jacobean
audience, as suggests that women also have an ambition for power and control,
which would have been perceived as against the great chain of being and all
things natural. Alternatively, the portrayal of gender inequality would be equally
shocking to a modern audience.
The presentation of gender politics in the ‘willow scene’ can be explored through
a patriarchal lens. Marilyn French (1982) insists that Desdimona “accepts her
culture’s dictum that she must be obedient to males”. She argues that
Desdimona is ultimately subservient and submissive to both her husband and to
the Venetian culture. This is increasingly emphasised in Act 4 Scene 3 in which
she seems to be aware she is preceding towards her death (“if I do die…”).
However, it could be argued that Desdimona does not accept “her culture’s
dictum” and she is not a traditional woman in a patriarchal society who is willing
to be dominated. She defies contemporary social norms in her action of marrying
Othello. Othello himself realises that his life story makes Desdimona “wished she
had not heard it yet wished / that heaven had made her such a man”. This shows
that Desdimona is not satisfied living under men’s control and shadows, which at
this point in her life, comes mostly from her father Brabantio. Instead, she at
least subconsciously seeks opportunities to subvert the patriarchy. This defiance
4 Scene 3?”
In the domestic tragedy of Othello, Shakespeare explores gender politics through
the marriage of Desdimona and the protagonist Othello, and perhaps more
significantly, through the relationship between the characters of Emilia and
Desdimona. Shakespeare challenges contemporary beliefs via the juxtaposition
between the two female characters, as well as through the structure of his play.
In Act 4 Scene 3, Shakespeares contrasts the two female antagonist’s views on
male-female relationships, presenting the character of Emilia as worldly and
wise, whilst portraying Desdimona as both innocent and naïve, the ideal
demeanour of a woman. Throughout the scene Emilia educates Desdimona on
male jealousy and cuckoldry, explaining “they are all but stomachs and we are
the food/ they eat us hungrily, and when they are full / they belch us” The
metaphor compares sexual desire to gluttony, insinuating men seek satisfaction
and view women as merely a means to an end. Furthermore, they objectify
women as “food” and to “eat” them hinting at the violence and aggression
underlying male-female relationships. The unequivocal denouncement of
masculinity is presented in contrast to Desdimona’s unshakable love as she
explains, “my love doth so approve him/ that even his stubbornness, his checks
his frowns.”. She loves her oppressor. Because of this, Emilia’s down to earth
cynicism and wisdom aims to protect Desdimona from the men in her life.
Perhaps Shakespeare intentionally utilises Emilia as a character construct to
argue that the only people who can save women from male violence is women.
The playwright conveys how oppressed women were in the 16 th century through
the women’s contrasting beliefs on adultery when it comes to power. Emilia
argues, “who would not make her husband a cuckold, to make him a monarch?”.
This highlights that at the time, there was no mechanism to deploy any power as
a woman, so they must transfer it to their husbands. This contemporary reality
emphasises the unequal power dynamic in the world determined by one’s
gender; as well as conveying how powerless and oppressed women were. This
challenge to the typical power dynamic would have shocked a Jacobean
audience, as suggests that women also have an ambition for power and control,
which would have been perceived as against the great chain of being and all
things natural. Alternatively, the portrayal of gender inequality would be equally
shocking to a modern audience.
The presentation of gender politics in the ‘willow scene’ can be explored through
a patriarchal lens. Marilyn French (1982) insists that Desdimona “accepts her
culture’s dictum that she must be obedient to males”. She argues that
Desdimona is ultimately subservient and submissive to both her husband and to
the Venetian culture. This is increasingly emphasised in Act 4 Scene 3 in which
she seems to be aware she is preceding towards her death (“if I do die…”).
However, it could be argued that Desdimona does not accept “her culture’s
dictum” and she is not a traditional woman in a patriarchal society who is willing
to be dominated. She defies contemporary social norms in her action of marrying
Othello. Othello himself realises that his life story makes Desdimona “wished she
had not heard it yet wished / that heaven had made her such a man”. This shows
that Desdimona is not satisfied living under men’s control and shadows, which at
this point in her life, comes mostly from her father Brabantio. Instead, she at
least subconsciously seeks opportunities to subvert the patriarchy. This defiance
