Gender Inequality Issue in Othello

Women have been mistreated contrasted with men who have consistently been viewed as unrivaled in society, and women are still considered the guardian of the home. No offer inland is providing for them in legacy. Gender inequality is still a frequently raised question discussed at different levels of societal events and gatherings. Many literary works incorporate the issue to demonstrate its relation to the actual world. One of the most famous Shakespeare’s works, Othello, was composed and set when gender inequality was the standard. The play distinctively shows the truth of a sixteenth-century woman’s life. Back in time, men regarded women as possessions and abused them verbally. Inside the entire reading, there are just three women with talking parts. All females assume insignificant roles regarding the societal position. Shakespeare shows women were stereotyped, treated as subjects, and disrespected in the 16th century through his play.

The text has various statements where women are regarded as men’s possession. In the first place, when Desdemona flees from her dad to marry Othello, Iago tells Brabantio: “You’re robbed” (Shakespeare, 2014, para. 94). A similar mentality is found in the line “thieves, thieves, thieves! Look to your house, your daughter and your bags!” presents Desdemona as an article possessed by her dad, practically one of the taken items (Shakespeare, 2014, para. 86). Desdemona is viewed as property, she is frequently sexualized, and her decision to be with Othello is considered an infringement. Desdemona, as a delightful lady, is deemed to be valued belonging. In phrases, “Come, my dear love, the purchase made, the fruits are to ensue; That profit’s yet to come ‘tween me and you,” the readers can witness the view of women as something that can be purchased, won, or taken (Shakespeare, 2014, para. 10). Consequently, marriage is not seen as a family association in historical society (Loomba & Sanchez, 2016). It is viewed as a woman’s obligation to give back to her being bought.

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There are many generalizations concerning woman nature that deceives the characters of the play. For instance, Iago sheds uncertainty in Othello’s mind and controls the social perceptions about women by saying the reality Desdemona tricked her father by wedding Othello. Hence, she can betray Othello as she did it with her father. After being continually actuated by Iago, Othello develops such an excess of outrage that he physically abuses Desdemona in front of the Venetian city authorities. When Cassio shows civility to Emilia, Iago rapidly adds his reactions to her character and not long after starts his outburst: “Come on, come on. You are pictures out of door, bells in your parlours; wildcats in your kitchens, saints in your injuries; devils being offended, players in your housewifery, and hussies in your beds.” (Shakespeare, 2014, para. 122). He suggests that his assertions apply to all women by utilizing plural things, not just his wife. He mentions observable facts that women claim to be pleasant in open settings; however, they are turbulent in their private and homegrown stages (Loomba & Sanchez, 2016). This mentality that he has towards women additionally appears in his discussion with Desdemona after this discourse.

The reading shows the double standards of individuals for women and men. They think about women as accommodating characters with no good and standards. Readers can see that individuals’ faith in the detachment of Venetian women, known for careless social mentalities and notorious for its mistresses. This way, Iago takes advantage of social tensions to additional cast questions into Othello, who as an untouchable to Venice uninformed of Venetian. Considering women as sexualized objects of enticing nature is shown by the disdainful terms that Desdemona, Bianca, and Emilia routinely allude to as “prostitutes” (Shakespeare, 2014). This directs some brutal sentiments toward his wife, Emilia, in the organization of many. Bianca is dealt with and indicated to as a whore by Iago and Emilia, although she is not the woman of free-willed character. This is during Iago’s allegation of Bianca in the affray among Cassio and Roderigo. He blames her for being liable because of her weighty breathing examples (Shakespeare, 2014). There is no proof of prostitution for Bianca in the full content. Because of the male-centric custom of women being agreeable and enchanting, it turns into a widespread tradition that they carry on in such a way.

In a sexist culture, men have unlimited oversight over women to such an extent that women are considered items made for trade. Through the play Othello, Shakespeare utilizes character to show the strength Othello and Iago have over their spouses. During that time, women in the public eye were conceived and raised to wed, raise children, and keep an eye on housework. This was the solitary occupation the women were permitted and educated to do. In Othello, the majority of men, in general, depict women as mediocre and do not take them seriously by considering them as possessions and characters with no principles. All women were viewed as second-rate mentally and physically compared to men.

References

Loomba, A., & Sanchez, M. E. (2016). Rethinking feminism in early modern studies: Gender, race, and sexuality. Routledge.

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Shakespeare, W. (2014). Othello. MAPLE Press.

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