Emilia is a multidimensional character who plays several important roles in Othello. She contributes to the very impetus of the play, Iagos jealousy (twixt my sheets / He has done my office 1.1. 388 - 9). She provides Iago with the ocular proof he requires to carry out his sinister plans and later she exposes him publicly. Emilias worldliness enhances Desdemonas innocence and her relationship with Desdemona counterpoints Iagos relationship with Othello. Furthermore, Emilia contributes to significant themes in Othello including jealousy, marriage, and womans role in Renaissance society. Emilia is, without doubt, the most compelling female in Othello. While Desdemona remains idealistic and nave, and Bianca remains a strumpet, Emilia transforms from docile wife to liberated woman.
Shakespeare introduces Emilia in Act 1as an unseen wife a possession dispensable at will. Othello simply asks that honest Iagos wife become Desdemonas escort (I prithee let thy wife attend on her, And bring them after in the best advantage 1. 3. 291-292) and, without discussion, his request is fulfilled. In Act 2 Iago publicly insults the now present Emilia. (Sir, would she give you so much of her lips / As of her tongue she oft bestows on me, /You would have enough. 2.1. 100-103) Instead of lashing out, she responds with few words. (You have little cause to say so. 2.1. 108) Up to this point in the play Shakespeare portrays Emilia as an obedient wife who never speaks out against her husband.
As Acts 3 and 4 unfold, Emilia reveals herself as an intelligent, independent thinker. She has worldly and liberal views. (The worlds a huge thing; it is a great price for / a small vice 4.3. 70 - 71 .) She is cynical about marriage. (Yet have we some revenge. Let husbands know /Their wives have sense like them. They see, and smell, / And have their palates both for sweet and sour, / As husbands have. 4.3. 96 -99) She understands jealousy (But jealous souls will not be answered so; / They are not ever jealous for the cause, / But jealous for theyre jealous. It is a monster / Begot upon itself, both on itself. 3.4. 158 - 161)
Emilia acts one way but thinks another. She acts submissive when verbally abused in public by Iago. (You have little cause to say so. 2.1. 108) In spite of her response Emilia thinks women are not meant to be passive. (Yet have we some revenge. 4.3.96 ) She thinks that if men are jealous for no reason, or cheat on their wives, women have the right to do the same. (The ills we do, their ills instruct us so 4.3.106 ) Emilia is bitter towards marriage and men. (Tis not a year or two shows us a man. They are all but stomachs, and we all but food; They eat us hungerly, and when they are full, They belch us 3.4.103 - 106.) Undoubtedly her cynical view arises from the experience of being in a bad marriage. Nevertheless, even though Emilia thinks one way about marriage, she acts the opposite way. She behaves as the perfect Renaissance wife. She is unfailingly obedient to Iago. Emilia even goes so far as to steal Desdemonas strawberry embroidered handkerchief for Iago because he instructed her to do so. (I have a thing for you 3.3. 298) For Emilia it is written in stone that she must obey her husband despite what she thinks.
Emilias discovery of Desdemonas murder and Iagos involvement are the ingredients that ignite and drive Emilia to transform. Discovering that Othello murdered Desdemona causes Emilia to be so moved that she lashes out with great vengeance towards him. (O, the more angel she, And you the blacker devil! 5.2. 129 - 130) Conceivably for Emilia this is the first time in her life that she has spoken out against a man. This is enormous step for her.
Emilia is further stunned when she discovers that Iago is the source of the infidelity charges against Desdemona. She questions Othello four times asking My husband? Emilia is overcome with rage when Iago confirms her fear that he is in fact the source of the charges against Desdemona. (You told a lie, an odious damned lie! 5.2. 177) Iago is horrified by Emilias disobedience and says to her charm your/ tongue (5.2. 179 180) Emilia for the first time disobeys Iago and says, I will not charm my tongue; I am bound to / speak: (5.2. 181-182)
Emilias epiphany transforms her from obedient wife to liberated justice seeker. No longer does Emilia keep quiet and follow Iagos orders, but rather she bravely disobeys and exposes him publicly. (O thou dull Moor, that handkerchief thou speakst of / I found by fortune, and did give my husband; / For often with a solemn earnestness - / More than indeed belonged to such a trifle - /He begged of me to stealt. 5.2. 221-226) Ultimately her transformation and disobedience cost Emilia her life and force Othello to realize his tragic folly.
Emilia is a vital character in Othello. Her metamorphosis from compliant wife to liberated woman is critical to the tragic outcome of the play. If Emilia had not transformed, she and Iago may have lived happily after and Othello may have returned to Venice for a Renaissance version of the O.J. Simpson trial.
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