Read the ending of Act 4 Scene 3 line 60 to line 105 and answer the question.
Explore the significance of this extract in relation to the tragedy of the play as a whole.
Remember to include in your answer relevant analysis of Shakespeare’s dramatic
methods.
(25 marks)
This extract is significant in that it begins with Desdemona confiding in Emilia who she asks
whether its even possible that there are women who “abuse their husbands”. She is unable
to comprehend how any women can commit such a deed, thus underlining her purity. It is
significant as it reveals Desdemona’s and Emilia’s differing views on infidelity. The intimate
nature of this scene with Emilia preparing Desdemona for bed is significant as the presence
of only female characters builds our catharsis for them before their killing in the next Act.
Emilia justifies herself and asserts her beliefs “who would not make her husband a cuckold
to make him a monarch?” whilst Desdemona continuously and religiously objects “I do not
think there is any such women”. The extract ends with Emilia’s proto-feminist speech where
she advocates for female equality “and have we not affections” revealing her views on
women and criticising their treatment by men. Desdemona bids her “goodnight” and is left
alone awaiting Othello’s arrival, ending the extract on a foreboding tone.
Shakespeare portrays Desdemona as a clear victim in this scene as she is completely
unaware of why Othello is mistreating her and enters the bedchamber exclaiming “ o these
men”. She is categorically innocent and pure in her profuse and religious objections to even
the suggestion of committing “such a deed” as she states “no by this heavenly light”. This
scene is placed directly after Act 4 scene 2, whereby Othello explicitly accuses her of
infidelity, thus it highlights her chastity as she consistently rejects suggestions of infidelity
even if it was for “all the world”. Desdemona is unable to comprehend why any women
would commit such a sin. Prior to this scene in Act 4 scene 2, her innocence is made explicit
as she kneels before Iago and claims “his unkindness may defeat my life but not taint my
love”, signifying how deeply and truly she loves Othello, whereby she even prophetically
predicts her own death. This serves to add to her innocence here as she will endure any
“unkindness” subjected to her by her beloved husband but will never subject him to any
pain.
Shakespeare also reveals an insight into Emilia’s character here as she dominates the
dialogue in this scene and reveals her views on infidelity. The almost sinister comedic
undertone “I might do it as well in the dark” could implicitly provide support for Iago’s claims
of being cuckolded in his soliloquy of Act 1 scene 3, however ultimately it signifies how
Emilia defends these actions if committed for a bigger benefit “the world’s a huge thing”.
Shakespeare also reveals a pragmatic side to Emilia who’s aware of the wrongs in the world
when she asserts that there’s “a dozen” women who would commit such acts, thus
contrasting the inherently pure and perhaps oblivious or naïve character of Desdemona with
the more practical and forward-thinking Emilia.
Explore the significance of this extract in relation to the tragedy of the play as a whole.
Remember to include in your answer relevant analysis of Shakespeare’s dramatic
methods.
(25 marks)
This extract is significant in that it begins with Desdemona confiding in Emilia who she asks
whether its even possible that there are women who “abuse their husbands”. She is unable
to comprehend how any women can commit such a deed, thus underlining her purity. It is
significant as it reveals Desdemona’s and Emilia’s differing views on infidelity. The intimate
nature of this scene with Emilia preparing Desdemona for bed is significant as the presence
of only female characters builds our catharsis for them before their killing in the next Act.
Emilia justifies herself and asserts her beliefs “who would not make her husband a cuckold
to make him a monarch?” whilst Desdemona continuously and religiously objects “I do not
think there is any such women”. The extract ends with Emilia’s proto-feminist speech where
she advocates for female equality “and have we not affections” revealing her views on
women and criticising their treatment by men. Desdemona bids her “goodnight” and is left
alone awaiting Othello’s arrival, ending the extract on a foreboding tone.
Shakespeare portrays Desdemona as a clear victim in this scene as she is completely
unaware of why Othello is mistreating her and enters the bedchamber exclaiming “ o these
men”. She is categorically innocent and pure in her profuse and religious objections to even
the suggestion of committing “such a deed” as she states “no by this heavenly light”. This
scene is placed directly after Act 4 scene 2, whereby Othello explicitly accuses her of
infidelity, thus it highlights her chastity as she consistently rejects suggestions of infidelity
even if it was for “all the world”. Desdemona is unable to comprehend why any women
would commit such a sin. Prior to this scene in Act 4 scene 2, her innocence is made explicit
as she kneels before Iago and claims “his unkindness may defeat my life but not taint my
love”, signifying how deeply and truly she loves Othello, whereby she even prophetically
predicts her own death. This serves to add to her innocence here as she will endure any
“unkindness” subjected to her by her beloved husband but will never subject him to any
pain.
Shakespeare also reveals an insight into Emilia’s character here as she dominates the
dialogue in this scene and reveals her views on infidelity. The almost sinister comedic
undertone “I might do it as well in the dark” could implicitly provide support for Iago’s claims
of being cuckolded in his soliloquy of Act 1 scene 3, however ultimately it signifies how
Emilia defends these actions if committed for a bigger benefit “the world’s a huge thing”.
Shakespeare also reveals a pragmatic side to Emilia who’s aware of the wrongs in the world
when she asserts that there’s “a dozen” women who would commit such acts, thus
contrasting the inherently pure and perhaps oblivious or naïve character of Desdemona with
the more practical and forward-thinking Emilia.
