Desdemona’s Social Deviance Towards her Role as a Woman

Desdemona’s Social Deviance Towards her Role as a Woman

Shakespeare portrays women in his plays in a traditional role of the Middle Age as well as the changing role of women during the Elizabethan Age, which is a time period associated with the reign of England’s Queen Elizabeth I. Although women are changing through the influence of a woman in power who is a “positive, aggressive, and self-confident role model,” there are still certain expectations in which women must abide by (Wright 8). Women are not given many of the same rights men have and are expected to be obedient and subservient to men as well. In William Shakespeare’s play, Othello, the role of women in the play is a representation of a time of struggle for women. It reflects the traditional role of women as well as the changing role of women of the Elizabethan Age. Desdemona is an Elizabethan woman who challenges the traditional role of women in her society through her strength, outspokenness, and courage; yet, she struggles with her role as a woman and remains submissive to her husband.

Desdemona challenges the traditional role of women in Act 1 where her strength is evident by her elopement with, the Moor, Othello. In 1604, around the time Othello was written, The Church of England had rules against performing a marriage in secret. Desdemona defies this decree and marries Othello without the required permission from her father (Ranald 131). This action is considered to be a “gross revolt” since her father has not “given her leave” (1.1.128-129). Based on the commons rules, there is condemnation of this marriage for not having parental permission (Ranald 130). Desdemona has committed “treason of the blood” by not obtaining permission for marriage (1.2.164). Desdemona exhibits her willfulness by boldly informing her father: “You are the lord of duty, / I am hitherto your daughter. But here’s my husband” (1.3.180-183). Carol Thomas Neely, a critic of Shakespeare, states the ramifications of Desdemona’s actions as “violently uproot[ing] herself from her father’s protection and the conventional expectations of Venetian Society” (96). Desdemona clearly breaks the traditional and expected role of women by rebelling against her father and society’s expectations of her.

Desdemona continues to challenge her role by further violating social norms and establishing her outspokenness when she asserts her voice to help Cassio, Othello’s lieutenant and a friend to both, Desdemona and Othello. Desdemona invites Cassio to her house without permission from her husband to speak to him about his job reinstatement. According to “attitudes of conduct” this behavior is inappropriate for a woman to do (Ranald 132). Obviously, it is uncharacteristic of a woman to approach her husband to influence his decisions outside the household. Desdemona is blatantly outspoken when speaking to Othello about the reinstatement of Cassio’s job. “If I have any power to move you, / His present reconciliation take” (3.3.46-47). Desdemona has stepped outside the boundaries of her household duties, taking interest in “forraine” affairs in order to mediate for Cassio. Emily Bartel’s statement, “While the agenda is Cassio’s, at issue is [Desdemona’s] will and her right to voice it” affirms the fact that Desdemona’s true mission is to exert herself (425). Desdemona realizes she has challenged her role as a woman and points out that she has “stood within the blank of [Othello’s] displeasure/ For [her] free speech” in trying to defend Cassio (3.4.123-125). Shakespeare is presenting a more outspoken woman defying the expectation of society.

Desdemona also defies a traditional role of a woman with her courage to defend herself against Othello’s claims of her affair with Cassio. Othello calls Desdemona a “Devil” and strikes her (4.1.216). Desdemona responds with, “I have not deserved this” (4.1.217). As Desdemona faces Othello’s accusations she declares “Alas, what ignorant sin have I committed?” (4.2.69). Desdemona repeatedly defends herself, telling Othello that she has done nothing wrong. She speaks up as she is dying and says, “O, falsely, falsely murdered” (5.2.117) and “A guiltless death I die” (5.2.121) making it evident that she has the courage to defend herself. Critic, Margaret Loftus Ranald, refers to Desdemona “as by no means a frightened little girl, but a warm, vital, strong willed, though rather inexperienced woman” (134) Desdemona’s courage to defend herself reveals qualities of the Elizabethan women..

However strong, outspoken, and courageous Desdemona is, she still struggles with her role as an Elizabethan woman. At times she reverts back to a submissive woman in which her goal is to present herself as a good wife who is willing to sacrifice everything for her husband. Her most notable act of submission is her willingness to be responsible for her own death. Desdemona says, “Let nobody blame him, his scorn I approve” (4.3.52). According to the critic, Sara Munson Deats, “Desdemona becomes a victim of sexism, lapsing sadly into the stereotypical role of passive and silent sufferer that the Venetian world expects of women” (248). Desdemona remains silent, with no voice to defend her. Critic David Bevington states: “She will not allow herself to accuse him of malice, and repeatedly expresses forgiveness for his erratic and violent behavior, however much it distresses her and accuses her unfairly” (228). As a result Desdemona is submissive in her actions and claims that it is she who killed herself. “Nobody-I myself. Farewell. / Commend me to my kind lord. O, farewell” (5.2.124-125). With her last breath, Desdemona blames herself, which proves that even with the new found qualities that she possesses as an Elizabethan woman, she struggles with her place as a woman in this time period. Desdemona wants to be a new woman, but cannot totally change from the expectations she knows are expected of her, so she continues to put herself in the role of a traditional submissive woman.

In conclusion, Shakespeare represents the changing role of women during this time and uses Desdemona's character to show the strength, outspokenness, and courage of the Elizabethan women; however, Shakespeare also includes a traditional view of the expectations of women. Desdemona’s defiance towards her father and husband provide a representation of the changing role of women and the powers and freedoms women are acquiring. It can be considered that Shakespeare is providing a duel role in order to present to the audience a representation of the role of women. The statement “Woman are becoming more aware of their freedoms which await them, while still remaining under the authority of their husbands” explains the struggle of the Elizabethan woman (Wright 8).

Works Cited

Bartel, Emily C. "Strategies of Submission: Desdemona the Duchess, and the Assertion of Desire." Studies in English Literature, 1500-1900. 2nd ed. 36. Tudor and Stuart Drama. Rice University, Spring, 1996. 417-33. JSTOR. 5 Oct. 2010 . This article discussed the role of early modern women. It examines the roles of Desdemona and the Duchess. It argues that Desdemona shows two sides. Desdemona shows a bold side as well as the side of a perfect wife.

Bevington, David. "Othello: Portait of a Marriage." Othello: New Critical Essays. Ed. Philip C. Kolin. New York: Routledge, 2002. 221-231. This work talks of Desdemona's strengths by going against her father and her determination to help Cassio. Also points out her weakness as a woman and her wish to obey and be a perfect wife.

Deats, Sara Munson. "Truly, an Obedient Lady: Desdemona, Emilia, and the Doctrine of Obedience in Othello." Othello: New Critical Essays. Ed. Philip C. Kolin. New York: Routledge, 2002. 233-251. This essay discusses the role of Desdemona and relates the conflict within the early modern marriage. Points out that Desdemona falls into the submissive role that is expected of her.

Grennan, Eamon. "The Women’s Voices in Othello. Speech, Song, Silence." Shakespeare Quarterly. 3rd ed. 38. Folger Shakespeare Library in association with George Washington University, 1987. 275-92. JSTOR. 5 Oct. 2010 . Talks about the voices of woman in Othello. More directly how Desdomona is silenced towards the end of the play.

Neely, Carol Thomas. "Women and Men in Othello." Modern Critical Interpretations: William Shakespeare's Othello. Ed. Harold Bloom. NewYork/Philadelphia: Chelsea House, 1987. 79-104. This critical essay gives some analysis of Desdemona's role in Othello.

Ranald, Margaret Loftus. "The Indiscretions of Desdemona." Shakespeare Quarterly. 2nd ed. 14. Folger Shakespeare Library in association with George Washington University, 1963. 127-39. JSTOR. 5 Oct. 2010 . This selection examines the behavior of Desdemona in relation to the Elizabethan attitudes toward women in general and in marriage during the time.

Shakespeare, William. The Tragedy of Othello. Ed. Alvin Kernan. Literature: Reading Fiction, Poetry, and Drama. By Robert DiYanni. Boston: McGraw-Hill, 2008. 1455-1543.

Wright, Courtni Crump. "The Women of Shakespeare's Plays: An Overview." The women of Shakespeare's plays analysis of the role of the women in selected plays; with plot synopses and selected one act plays. Lanham: University Press of America, 1992. 7-11. This selection gives a general overview of the traditional role of women in the Middle Ages as well as the role in the Elizabethan Age. It discusses these roles as they relate to the women in Shakespeare. This selection gives information about the struggles of women as well as the expectations that were placed on them in their society.

The African-American Perspective : ENC1102 :11/23/10

The African-American Perspective

How does Langston Hughes look at the world? Langston Hughes, an African American writer, has a very adamant view of the world in which he lives. Hughes is clearly influenced by the Harlem Renaissance, “a decade of extraordinary cultural creativity,” centered in Harlem in the 1920’s (989). Hughes writes his works during a time in which African-Americans are not treated equal to whites in the United States, and many African-Americans still harbor bad feelings from the past. Through Hughes’ writing, the reader is transported into the life of an African-American man who views the world with resentment, defiance, and optimism.

Hughes makes his resentful view of the world very apparent to his readers. He displays an unforgiving attitude towards white people, particularity towards the slavery of the Africans by the whites. Hughes has a sense of resentment and “weariness,” which is shown in his poem, “Trumpet Player” (1002). The author feels the need to make a point about slavery in this poem. Hughes’ “smoldering memory” of his ancestors traveling in “slave ships” in the not so distant past, leaves an undeniable feeling by the reader of the anger Hughes feels (1002). The fact that he mentions the slaves were “blazed to the crack of whips” also shows that Hughes harbors animosity towards the way Africans were treated in the past (1002). This resentful view of how African-Americans have been abused definitely portrays how Hughes looks at the world.

Hughes not only views the world with resentfulness, but also with defiance. Undoubtedly, this view is reflected in his poem, “Ballad of the Landlord.” Hughes obviously has this defiant outlook of the world due to the treatment of African-American by “high and mighty” white landlords (1005). It is evident in this poem that he feels this way and expresses his feeling towards the “pain of urban life” and the dire living conditions of African-Americans (993). The defiance can be observed by the reader with his statements: “Man threatens landlord” and “Judge gives negro 90 days in county jail” (1006). Clearly, Hughes is disturbed with the current predicament that African-Americans are in and is willing to protest it though his writing.

Although Hughes portrays a resentful and defiant view of the world, he also has an optimistic outlook towards the future of his race. Hughes’ optimism is evident in his poem,
“I, Too.”  The poem represents Hughes’ belief in life becoming better and more equal for the African-Americans in the United States. Hughes tells the reader from an African-American  man’s point of view that, “[He], too, [is] America” and therefore, should be equal (995). He is “the darker brother” and someday the whites will see “how beautiful [he is]” (995).  Hughes speaks about the fact that he must “eat in the kitchen” referring to a racial inequality.  He also makes reference to the fact that he will “grow strong” and “tomorrow / [he’ll] be at the table” with white people (996). Hughes obviously believes there is hope for the future of African-Americans to be equal Americans someday.

Through Hughes’ poems, it is certain that his view of the world is resentful and defiant, but he is hopeful that things will change for the better. His poems are written for the African-American people and provide encouragement and inspiration to his readers. The “Trumpet Player” begins with references to slavery, reminding us of the past.  “Ballad of the Landlord” reminds African-Americans to stay strong and to work for what you feel is right, and “I ,Too” shows Hughes’ belief that soon all people in America will be treated equal as Americans. We clearly see how Hughes looks at the world through his poetry which incorporates the history of his race and his own life experiences.