In Othello, Shakespeare crafts Cassio and Iago to be two contrasting characters, and this is evident from the way that they speak to and about women in the play. Iago does not treat his own wife nicely as seen from Act 2 Scene 1 thus Shakespeare may have wanted to show us that Iago had no respect for any woman, not even his wife.
Iago sees women in a physical way, and makes sexual references towards them when speaking about women and Desdemona in the play. He says "thou shalt enjoy her" (on line 310 page 26) to Roderigo, referring to him merely using her to please him and then that is all she is worth. He refers to "housewives in your bed" and how he would "drown [himself] for the love of a guniea-hen" which shows that he seems to be thinking in primitive and rude ways about women.
Iago also refers to his scheme with references to the "womb", "If thou canst cuckold him, thou dost thyself a pleasure, me a sport. There are many events in the womb of time which will be delivered." (line 360 page 27). Not only does he refer to "wombs" but also cuckolding, disrespecting the women's choice as if they want to be cuckolded or not.
Cassio on the other hand refers to women, and Desdemona in particular (to Iago's delight), as "The riches of the ship" (line 82 page 33). She is likened to treasure and as soon as she enters he says "Hail to thee, lady!", clearly elevating her status even more. The first thing we hear Cassio say about Desdemona is that Othello is lucky to have her. He admires the two of them, and clearly sees Desdemona as something "divine" rather than a mere object belonging to Othello who he admires.
The way in which Iago and Cassio refer to women enables the audience to see their upbringing at the time and Shakespeare enables us to also understand what it was like for women at the time. It seemed as though the men were a lot more dominant, and although people of education and higher status like Cassio elevated their status, Iago shows us that women were under the rule of men and less trusted.
An effect that this has on the audience, especially the female audience at the time, is that it may make them dislike Iago even more to highlight his bad personality. It may have shocked some women to hear him refer to them in that way, thus enabling them to like Cassio, who is a clear gentelman, a lot more than him. Shakespeare may have done this to highlight the tragedy of the play, seeing as it is the character who is evil and not liked that triumphs over and poisons all the others.
Thursday, September 24, 2009
Iago and Cassio
Shakespeare develops the character of Cassio in this scene by using extravagant language, showing him to be a gallant gentleman via the way he treats women with great respect even if they are on a same or lower class. On the other hand, Iago is crafted as a man who criticizes his wife incessantly (100-1 when she lets Cassio kisses her) and makes ugly comments about women in general. Shakespeare explicitly describes Iago’s view of women through lines 108-11, in which he believes that women are play-minded creatures who appear to be all nice and quite when out in public, are just silent images, or just “pictures out of doors” but when all they do at home is whining and talking like “bells” and “wild-cats”. By having Cassio serves as a foil to Iago in terms of relationship between men and women, I think Shakespeare has built a background of the society in which the play is set in, enabling the audience to gain a better knowledge of the characteristics of the expected role of women and men – how men are able to treat women, it is their choice and that women, at the time, are considered to have high status and are respected by others. More importantly, this contrasting portrayal of men-women relationship helps to raise dramatic tension as we gain an understanding of Desdemona being an independent girl who could directly speak to men – thus maybe she will have the power to stop Othello’s blindness in being tricked into the Iago’s scheme.
Iago’s and Cassio’s contrasting view toward women
Posted by Brian
Cassio regards women as figures of perfection1. When Desdemonda enters the ship, he acts as a humble man introducing a great goddess, shown through his use of language. By continuously mentioning the ideas of “hailing” 2 and “heaven” 2 he elevates her to divine beauty. He compares her to a flourish white swam3, which gives an imagery of purity and splendor. One of the most defining characteristics that Shakespeare gives Cassio is his incredible humbleness towards women. And eventhough he is second in command, he uses proper courtesy of asking a for a lady’s hand from Iago 4 . Shakespeare’s decision to include Cassio’s humble courtesy towards the women, in contrast with Iago’s, could have been done to show how it is one of Cassio’s weakness and how Iago uses this to his advantage.
On the other hand, Iago attitude toward’s Desdemona and Emilia shows that he has no respect or value for women. Iago’s character is naturally dishonest, he creates a mask which he hides behind when he talks to Othello. Yet in this scene, you can see Iago’s clearly criticizing Desdemona and Emilia without hesitation, this shows how little little respect he has towards women. Iago goes as far as mentioning that women are of no use other than in bed5.
Unlike Cassio, rather than praising his own wife, he chooses to criticize her. He depicts her as “bothersome” 9, and “noisy” through the use of imagery, such as “Bells in your parlor” 6 and “wild-cats in your kitchen”6.The comparison he used on his wife, clearly shows that he no concern or care for her. Shakespeare might have added this aspect to show that Iago’s character has been foul and vile long before Othello’s decision to not promote him. The fact that Iago cannot be courteous to his wife in front of others shows how stubborn he truly is.
His descriptions of dark brunettes and fair ladies, further emphasizes his inconsideration of female emotions and his ignorant ideas that women are objects for men, with only the use of child bearing8 and for interactions7.
The main function that this scene creates, is to emphasize Iago’s inconsideration of people, to introduce how sensitive and courteous Cassio’s character is, As such that it could potentially be manipulated by the stubborn Iago. This contrast not only creates tension between these characters but also potentially heighten’s the audience’s hate for Iago now that they have learned he views women as a nuissance.
1: “That paragons description and wild fame”
2: “Ye men of Cyprus, let her have your knees Hail to thee, lady! and the grace of heaven,"
3: “One that excels the quirks of blazoning pens”
4: “Let it not gall your patience, good Iago That I extend my manners; 'tis my breeding That gives me this bold show of courtesy.”
6: “Bells in your parlors, wild-cats in your kitchens”
5: “You rise to play and go to bed to work”
7: “If she be black, and thereto have a wit, She'll find a white that shall her blackness hit.”
8: “She never yet was foolish that was fair; For even her folly help'd her to an heir.”
9: “I find it still, when I have list to sleep …She puts her tongue a little in her heart, And chides with thinking.”
Cassio regards women as figures of perfection1. When Desdemonda enters the ship, he acts as a humble man introducing a great goddess, shown through his use of language. By continuously mentioning the ideas of “hailing” 2 and “heaven” 2 he elevates her to divine beauty. He compares her to a flourish white swam3, which gives an imagery of purity and splendor. One of the most defining characteristics that Shakespeare gives Cassio is his incredible humbleness towards women. And eventhough he is second in command, he uses proper courtesy of asking a for a lady’s hand from Iago 4 . Shakespeare’s decision to include Cassio’s humble courtesy towards the women, in contrast with Iago’s, could have been done to show how it is one of Cassio’s weakness and how Iago uses this to his advantage.
On the other hand, Iago attitude toward’s Desdemona and Emilia shows that he has no respect or value for women. Iago’s character is naturally dishonest, he creates a mask which he hides behind when he talks to Othello. Yet in this scene, you can see Iago’s clearly criticizing Desdemona and Emilia without hesitation, this shows how little little respect he has towards women. Iago goes as far as mentioning that women are of no use other than in bed5.
Unlike Cassio, rather than praising his own wife, he chooses to criticize her. He depicts her as “bothersome” 9, and “noisy” through the use of imagery, such as “Bells in your parlor” 6 and “wild-cats in your kitchen”6.The comparison he used on his wife, clearly shows that he no concern or care for her. Shakespeare might have added this aspect to show that Iago’s character has been foul and vile long before Othello’s decision to not promote him. The fact that Iago cannot be courteous to his wife in front of others shows how stubborn he truly is.
His descriptions of dark brunettes and fair ladies, further emphasizes his inconsideration of female emotions and his ignorant ideas that women are objects for men, with only the use of child bearing8 and for interactions7.
The main function that this scene creates, is to emphasize Iago’s inconsideration of people, to introduce how sensitive and courteous Cassio’s character is, As such that it could potentially be manipulated by the stubborn Iago. This contrast not only creates tension between these characters but also potentially heighten’s the audience’s hate for Iago now that they have learned he views women as a nuissance.
1: “That paragons description and wild fame”
2: “Ye men of Cyprus, let her have your knees Hail to thee, lady! and the grace of heaven,"
3: “One that excels the quirks of blazoning pens”
4: “Let it not gall your patience, good Iago That I extend my manners; 'tis my breeding That gives me this bold show of courtesy.”
6: “Bells in your parlors, wild-cats in your kitchens”
5: “You rise to play and go to bed to work”
7: “If she be black, and thereto have a wit, She'll find a white that shall her blackness hit.”
8: “She never yet was foolish that was fair; For even her folly help'd her to an heir.”
9: “I find it still, when I have list to sleep …She puts her tongue a little in her heart, And chides with thinking.”
Cassio and Iago's Treatment of Women
Cassio speaks to women with great respect, using flowery language and almost exaggerated compliments to describe Desdemona and to greet Emilia. He describes Desdemona as ‘divine’ and calls her the ‘riches of Cyprus’, likening her to an angel and a treasure. This conveys Cassio’s admiration for her, showing that he believes that she is special and of a high status. Shakespeare made Cassio say these lines to give the dramatic effect of making the audience feel slightly worried that Iago’s plan to claim that Desdemona and Cassio have a relationship may work, because they seem so close. Even though the audience can see that Cassio’s behaviour stems merely from his sense of courtesy, they can also see that Othello, having spent less time learning the customs in society at the time, may believe that Cassio’s friendly banter is flirtatious instead. He greets Emilia with a kiss, explaining to Iago that ‘tis [his] breeding that gives [him] this bold show of courtesy’. This shows that audience that he was brought up to treat women with care and respect, so even though he does not know Emilia, he treats her as if she is special to him. As Cassio has a ‘person and a smooth dispose’, he must be a man with knowledge of the rules in society, showing that his behaviour towards women makes him more respectable and well liked.
Iago, on the other hand, is shown through his speech to believe that women are annoying and fickle, and have the duty of providing an heir to the family. He does not speak with the same respect as Cassio, but instead ridicules his wife, even if only lightly, by saying ‘you are pictures out of doors, bells in your parlours, wild-cats in your kitchens...’ This comment shows that he thinks women put on different facades in different places, depending on who is around to see them, making them deceitful. It also implies that though Emilia seems quiet outside, she annoys Iago in the house, being too loud, as is suggested by the metaphors of ‘bells’ and ‘wild-cats’. Iago sees women as child-givers, shown by the phrase ‘she never yet was foolish that was fair, for even her folly help’d her to an heir’. The phrase implies that as long as a woman can bear a child, it does not matter how foolish she is. Shakespeare uses Iago’s behaviour towards women to show the audience that he is a complete opposite to Cassio, who almost puts the women above him, and though it was expected for women to be submissive and stick to their duties, when Iago shows that these are his views, the audience is less likely to agree with them, simply because of his dislikeable character.
Iago, on the other hand, is shown through his speech to believe that women are annoying and fickle, and have the duty of providing an heir to the family. He does not speak with the same respect as Cassio, but instead ridicules his wife, even if only lightly, by saying ‘you are pictures out of doors, bells in your parlours, wild-cats in your kitchens...’ This comment shows that he thinks women put on different facades in different places, depending on who is around to see them, making them deceitful. It also implies that though Emilia seems quiet outside, she annoys Iago in the house, being too loud, as is suggested by the metaphors of ‘bells’ and ‘wild-cats’. Iago sees women as child-givers, shown by the phrase ‘she never yet was foolish that was fair, for even her folly help’d her to an heir’. The phrase implies that as long as a woman can bear a child, it does not matter how foolish she is. Shakespeare uses Iago’s behaviour towards women to show the audience that he is a complete opposite to Cassio, who almost puts the women above him, and though it was expected for women to be submissive and stick to their duties, when Iago shows that these are his views, the audience is less likely to agree with them, simply because of his dislikeable character.
Act II, Scene I
Cassio throughout this scene exerts himself to be the ideal and perfect courteous gentlemen. In this scene, his appreciation for feminine beauty is highlighted as he speaks with much enthusiasm about Desdemona’s beauty (more than what most men would speak of when talking about another man’s wife). His romantic character is developed through his description of Desdemona. In lines 62 to 64, he portrays Desdemona as a woman that “paragons description and wild fame”, “excels the quirks of blazoning pens” and is an “essential vesture of creation”. The use of extravagant courtly diction depicts Desdemona’s beauty to be overwhelming; as if it is beyond the ability of humans and their words to describe her thus suggesting that her beauty is divine. This idea is further reinforced when Cassio boldly claims that jagged rocks and sandbanks “as having sense of beauty do omit/ their moral natures, letting go safely by/ the divine Desdemona” (lines 71 – 73). This implies that Desdemona’s beauty is so overpowering that her ship manage to escape the dangers of the storm, rocks and sands because of it.
Being the gentlemen that Cassio is, upon the arrival of Desdemona on his ship he alerts the men on board the ship that “the riches of the ship is come on shore!” (line 83) and insists that the men of Cyprus greet her by “[letting] her have [their] knees” (line 84). This depicts Desdemona as something precious, like treasure and is the fact that the men are kneeling before her is akin to welcoming a goddess or an angel, which is a slightly excessive gesture as they are in the middle of a storm, where everything is wet and muddy. He also extends his welcome to Emilia, Iago’s wife by giving her a kiss to which he explains that “’tis [his] breeding/ that gives [him] this bold show of courtesy” (lines 98/99). This suggests that he was brought up in a well-mannered environment. This in turn emphasizes how charming Cassio is and at this point, the audience feels a little bit worried as they can see clearly how Cassio would fit perfectly into Iago’s evil scheme. This additionally serves as a foreshadow of the manifestation of Iago’s plan as it unfolds throughout the course of the play.
Iago’s disdain for women can be seen in this scene through the pessimistic way in which he speaks about them. This is apparent when he compares women in the quote to insignificant objects;
Furthermore, Iago also describes his idea of a perfect woman in this scene.
He then pauses significantly before concluding his speech with “to suckle fools and chronicle small beer” (line 157) with the intention of winding Desdemona up. The last sentence of his speech suggests that a woman, even if she is perfect is good for nothing more than nursing babies and to keep household accounts of insignificant items such as beer.
The contrast in how different male characters portray female characters highlights the fact that men are dominant and hold more power in a relationship as they can easily promote or demote a woman’s status in the society, especially if they are of a high position in the army (for example, Cassio). This in turn emphasizes the inferiority of women and their position in the social hierarchy during the Elizabethan era.
Being the gentlemen that Cassio is, upon the arrival of Desdemona on his ship he alerts the men on board the ship that “the riches of the ship is come on shore!” (line 83) and insists that the men of Cyprus greet her by “[letting] her have [their] knees” (line 84). This depicts Desdemona as something precious, like treasure and is the fact that the men are kneeling before her is akin to welcoming a goddess or an angel, which is a slightly excessive gesture as they are in the middle of a storm, where everything is wet and muddy. He also extends his welcome to Emilia, Iago’s wife by giving her a kiss to which he explains that “’tis [his] breeding/ that gives [him] this bold show of courtesy” (lines 98/99). This suggests that he was brought up in a well-mannered environment. This in turn emphasizes how charming Cassio is and at this point, the audience feels a little bit worried as they can see clearly how Cassio would fit perfectly into Iago’s evil scheme. This additionally serves as a foreshadow of the manifestation of Iago’s plan as it unfolds throughout the course of the play.
Iago’s disdain for women can be seen in this scene through the pessimistic way in which he speaks about them. This is apparent when he compares women in the quote to insignificant objects;
“Pictures out of doors” suggests that they only pretend to be well-behaved when they are out in public but reveal their true nature at home. “Bells in you parlours” suggests that they are as noisy and annoying as the sound of bells while “saints in your injuries, devils being offended” implies that they are religious in their dedication for revenge but are devil-like when someone faults them. “Players in your housewifery, and housewives in your beds” indicates that they only pretend to be housewives and that they use sexual favours to get what they want, which is further emphasized when he says that women “rise to play and go to bed to work”. What he meant by saying this is that women only really earn their living in bed. Therefore, through the horrible things that Iago says, it is not at all surprising that Iago thinks of women as low and inferior as he compares them to animals and devils.
“you are pictures out of doors, bells
In your parlours, wild-cats in your kitchen, saints in
Your injuries, devils being offended, players in your
housewifery, and housewives in your beds.” (lines 108 – 111)
Furthermore, Iago also describes his idea of a perfect woman in this scene.
‘She that was ever fair, and never proud,Iago’s response highlights the point that a woman should be fair, but not overly stuck up; who was well-spoken but knows when to hold back (knows what her limit is); who had gold but did not overdress just because she had the money; who had self-control; who could control her desire to seek revenge for slights; who had enough sense to distinguish head from tail; who could think without expressing her every thought and who could avoid being distracted by others’ reactions.
Had tongue at will, and yet was never loud;
Never lack'd gold, and yet went never gay;
Fled from her wish, and yet said "Now I may";
She that being anger'd, her revenge being nigh,
Bade her wrong stay, and her displeasure fly;
She that in wisdom never was so frail
To change the cod's head for the salmon's tail;
She that could think and ne'er disclose her mind,
See suitors following and not look behind;
She was a wight, if ever such wight were – ‘ (lines 145 – 155)
He then pauses significantly before concluding his speech with “to suckle fools and chronicle small beer” (line 157) with the intention of winding Desdemona up. The last sentence of his speech suggests that a woman, even if she is perfect is good for nothing more than nursing babies and to keep household accounts of insignificant items such as beer.
The contrast in how different male characters portray female characters highlights the fact that men are dominant and hold more power in a relationship as they can easily promote or demote a woman’s status in the society, especially if they are of a high position in the army (for example, Cassio). This in turn emphasizes the inferiority of women and their position in the social hierarchy during the Elizabethan era.
Wednesday, September 23, 2009
Iago vs. Cassio
Act 2 Scene 1
In this scene, while waiting for the arrival of Othello in Cyprus, Iago and Cassio speak to and of women in contrasting manners. Cassio clearly shows more respect and consideration for women in society, while Iago, on the other hand, exhibits a lack of respect and appreciation, especially towards the woman he married, Emilia.
When Cassio speaks of Desdemona, Othello's wife, he describes her with the utmost respect without lapsing into insincerity;
Most fortunately: he hath achiev'd a maid
That paragons description and wild fame;
One that excels the quirks of blazoning pens
And in th'essential vesture of creation
Does tire the ingener.
Cassio says that Desdemona is so much more than what people describe her as, and that her beauty transcends imagination. By speaking of her in this way, Cassio instantly elevates her status through his inflated compliments, and this is highlighted when Cassio calls to his men 'You men of Cyprus, let her have your knees'. Cassio respects and admires Desdemona, even though she is just a friend and he is not romantically involved with her, indicating that Cassio is respectful towards women in general. He continues to compliment her throughout the scene, calling her 'the divine Desdemona' and 'the riches of the ship', comparing her to something so very rare and valuable.
Cassio also shows respect for Emilia, Iago's wife, when he greets her politely and chivalrously with a kiss. Cassio says 'tis my breeding that gives me this bold show of courtesy', suggesting that Cassio has been brought up in an environment where he was taught to respect women.
Iago, on the other hand, exhibits a very different and negative attitude towards women, to the point where he criticises and disparages his own wife. After Cassio kisses Emilia, Iago says;
Sir, would she give you so much of her lips
As of her tongue she oft bestows on me
You would have enough.
Come on, come on; you are pictures out of doors, bells
in your parlours, wild-cats in your kitchen, saints in
your injuries, devils being offended, players in your
housewifery, and housewives in your beds.
Iago implies that women talk excessively, definitely more than they should, and of useless matters. He says that women are well behaved in public but in the home they are troublesome. In addition to this, Iago makes the vulgar statement, 'You rise to play and go to bed to work', indicating that he thinks women are good for nothing but sex.
In contrast to Cassio, who elevates the status of women, Iago greatly lowers their status, referring to them as objects and animals - pictures, bells, wild-cats, as if they are selfish creatures, and a burden to their husbands.
These contrasting ways in which women are spoken to and spoken of affects our understanding of male/female relationships in the sense that there are two different types of male/female relationships; empowered and constrained. The way that Cassio speaks to women in society is very respectful and courteous. He gives them a voice, an identity and status. However this is only outside of the home. We do not know how Cassio would treat a mistress or a wife. Iago and Emilia's relationship is constrained. Their relationship is an excellent example of power in gender roles in society, with Iago being the powerful masculine persona in the relationship, and Emilia being the weaker feminine persona. The idea that women are inferior to men is exemplified in their relationship, as Emilia is clearly of a lower status to Iago, and Iago constantly verbally abusing her.
Because of the opposing attitudes towards women, Cassio becomes the perfect scapegoat for Iago's plan. His respect for women, in particular Desdemona, makes him the perfect suspect as Iago intends to lure Othello into thinking Desdemona is having an affair with Desdemona, therefore bringing the both of them down. This could foreshadow a terrible ending later on in the play as the more we learn about Cassio and his charming characteristics, the more we realise that Iago's plan could be executed flawlessly. Iago's cruel manners towards his wife also indicates how heartless he is, emphasising his malicious characteristics.
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