Barry 1
Olivia Barry
Dr. Parmita Kapadia
English 309-001
November 29th 2010
The Role of Emilia in William Shakespeare’s Othello
In the sixteenth century, there were legal documents and codes of conduct that women
were supposed to live up to. Women were expected to be silent, chaste, obedient, and submissive
to their husbands. Women who followed these standards were considered to be the ‘ideal
renaissance woman” (“A Society that Kills”, Alison Douglass, 1). In Othello, Emilia, wife of
Iago, is a hot topic to discuss when it comes to the great tragedy. Critics and readers argue that it
was the actions of Emilia that created the dramatic ending. Emilia is obedient and silent in the
beginning of the play, demonstrating her tasks; however, in the final act of the play, she breaks
her silence. Emilia was not a villain; Emilia’s role in Othello is that of a victim: A victim to
society’s codes to which she had no control over. Emilia contributes to the tragedy because of
the standards in being the ideal renaissance woman, and then finally breaking her silence and
obedience by revealing Iago’s plot. In this paper I will discuss these standards demonstrated by
Emilia, and how they make Emilia culpable for the tragedy.
If you were asked to remember Emilia’s character in Othello, you would more than likely
agree that she was the only real culprit in Othello. But what most people don’t realize about the
sixteenth century is that women were required to “fill” roles in order to please their husbands.
Regardless of how they were treated in return, women of the sixteenth century were treated as
possessions, and indeed, their husbands treated them accordingly. Throughout Othello, Emilia is
Barry 2
seen as an innocent little wife. She caters to her ungrateful husband, who in return, shows
absolutely no reciprocation to her. Emilia is so oblivious to Iago’s attitude towards her, but she
continues to follow his orders. In act three, scene three, Desdemona is trying to comfort Othello
with the handkerchief that was given to her from him. As they both exit, the handkerchief falls to
the ground, unnoticed. Emilia, who is still in the room, steals it for Iago. Most people reading
Othello would argue that this is what makes Emilia so culpable for the tragedy. Did Emilia steal
the napkin to intentionally betray Desdemona, or was she stealing the napkin because she had to
obey Iago? “…My wayward husband hath a hundred times/ wooed me to steal it” (3.3.336-37).
Emilia wasn’t thinking about Desdemona when she stole her handkerchief, she was only thinking
about Iago. Emilia states that her only purpose as a woman is to please Iago’s fantasy. Emilia
knows that one of her roles as a renaissance woman is to obey him and keep him happy. The
conversation following the snatching of the napkin shows how little Emilia means to Iago.
Emilia, who is happy that she might finally be appreciated for once by Iago, is only ignored and
called harsh words.
Upon Emilia telling Iago that she has a “thing” for him, Iago does not realize that the
“thing” Emilia has for him is the napkin. Iago’s first response is that it is common for a man to
have a foolish wife (3.3.348). It’s as though we can actually picture poor Emilia dangling the
handkerchief in front of Iago’s eyes in exchange for some token of appreciation. No. Instead
Iago commands her to give him the handkerchief after calling her a “good wench” (3.3.359).
Emilia asks Iago what he will do the napkin as it was such a huge task to complete. Instead of
answering Emilia, Iago snatches the handkerchief from her fingers and snaps: “Why, what is that
to you?” (3.3.363). Emilia’s reply: “If it be not for some purpose of import, / give ‘t me again.
Poor lady, she’ll run mad / When she shall lack it. Be not known on ‘t” (3.3.364-67). Emilia
Barry 3
almost breaks her obedience here by speaking out to Iago and attempting to gain back the
napkin. Realizing her inferiority, she backs down and slips back into her obedient and
submissive state, and leaves Iago to plot Cassio with the handkerchief that Emilia has just given
to him. Had Emilia stepped out just a little further and taken back the handkerchief, ultimately
she would have been punished for not submitting to her husband’s pleasures, but perhaps her
getting the handkerchief back would have contributed less to the ending.
According to Carol Thomas Neely, author of “Women and Men in Othello,” She
describes the handkerchief as power. The handkerchief is symbolized as female power, and once
it is lost, the power is degraded, making Othello into a tragedy, rather than a comedy. Ultimately,
Emilia, at one point had control over Iago, and the entire plot. What would have been the
chances of Iago discovering what she took? Without Emilia stealing the handkerchief from
Desdemona and giving it to Iago, Othello would not be so tragic. The lost handkerchief
represents downfall of the relationship between Othello and Desdemona, resulting in Othello not
being able to trust his honest wife, and Desdemona not being able to speak out against his
accusations because of sixteenth century standards. Even when Desdemona is smothered by the
pillow in act five, she still does not defend herself. “Nobody. I myself” (5.2.152). According to
Emily C. Bartlels, in her article titled: “Strategies of Submission, Desdemona, the Duchess and
the Assertion of Desire,” “[Desdemona] stands passively by as her husband destroys her
reputation and her life. She then takes responsibility for the deed and clears his name” (Bartels
par. 17). Even though Desdemona did not commit adultery, she accepts the blame, because after
all, a woman’s opinion did not mean anything to males.
Throughout the majority of the play, Emilia’s behavior is as though she recognizes her
place in sixteenth century society – inferior. As mentioned before, Emilia realizes that she is
Barry 4
inferior to all men, especially to Iago. When speaking to Desdemona about the importance of
women, Emilia describes them as stomachs. “They are all but stomachs, and we all but food; /
They eat us hungerly, and when they are full / They belch us” (3.4.120-3). As if this statement
doesn’t speak for itself, Emilia compares herself and women to food. They are only needed by
their husbands at certain times, and when they “full,” they are “belched” (dismissed). The only
time we see Iago need Emilia is when she steals the handkerchief. She is never needed to do any
other task for Iago; good or bad.
A woman who was not chaste was considered a disgrace to her husband or father
(Douglass, 1). Even though Emilia never commits adultery against Iago, however, she seems to
disagree with this rule, as she admits to Desdemona that she would commit adultery if it made
her husband a king. “…Who would not make her husband a cuckold to make him a monarch? I
should venture purgatory for ‘t” (4.3.85-7). Even though committing adultery was frowned upon
in the sixteenth century because it was not chaste, in Emilia’s case, she would be willing to break
the rules and go to purgatory because it would benefit Iago, ultimately making him happy.
Emilia believes that committing adultery is a small price to pay if it means that you get to rule
the world afterwards, because once you have the world to rule, you can quickly correct your
actions that you made (Pamela Hammons, Robert Herrick’s Gift Trouble, 36). “Why the world is
but a wrong i’ th’ world; / and having the world for your labor ‘tis a wrong in / your own world
and you might quickly make it / right” (4.3.90-3). Ruth Vanita, author of “’Proper’ Me and
‘Fallen’ Women: The Unprotectedness of Wives in Othello,” argues that even though Emilia was
never unfaithful sexually, she was unfaithful mentally. By taking Desdemona’s side and breaking
faith with Iago, she has, in a way, committed adultery, regardless of sex.
Barry 5
We see a change in Emilia’s character when she delivers a speech in act four, scene three,
after she has told Desdemona that she would commit adultery if it meant that her husband would
become king. In her speech, Emilia states: “But I do think it is their husbands’ faults / if wives do
fall…[…]Why, we have galls, and though we have some grace, / Yet have we some revenge. Let
husbands know / Their wives have sense like them” (97-105). The significant change in Emilia’s
character is that she is more open with her opinions instead of remaining silent. Emilia openly
blames men for their wives’ errors. She understands their inferiority to men, and explains that
women have the same feelings as men do, and because men do not fulfill their wives’ needs, it is
therefore, their fault. This statement coming from Emilia is shocking to readers because in one
act earlier, all Emilia wanted to do was to please Iago (Douglass, 3). This speech gives readers a
little foreshadowing on how exactly it’s the husbands’ blame for their downfall. Emilia is the
prime example of a downfall as her needs are never fulfilled by Iago.
Sixteenth century men were given the right to punish their wives if they felt they were
acting out of order. “A woman could be severely punished if she refuses to obey her husband. As
a part of his superiority, he has the right to inflict pain upon his wife if he so chooses” (Douglass,
7). In the early parts of Othello, there is no violence being demonstrated, as Emilia is playing her
part as the ideal wife. However, the violence begins when Othello strikes Desdemona in act four,
scene one, but it is not until the final act that Desdemona is smothered by Othello and Emilia
decides to take a stand against her husband.
The greatest character development for Emilia is in the final act of Othello. It is here that
Emilia breaks her silence and obedience to Iago. Emilia has just discovered that Othello has
killed the innocent Desdemona based on information given by Iago. If readers were waiting for
Emilia to snap, then this is the perfect scene for it. Even though Emilia has been told that Iago
Barry 6
gave false information, she cannot register the fact that her husband, apple of her eye, would do
something so horrid. In act five, scene two, Othello tells Emilia numerous times it was Iago, but
doesn’t want to believe it. It is in this scene that Emilia reaches a point of no return (Douglass,
4).
After being asked to “charm her tongue” (5.2.219), by Iago, Emilia refuses and continues
to reveal Iago’s entire plot. “I will not charm my tongue. I am bound to speak” (220). “Villainy,
villainy, villainy! / I think upon ‘t, I think! I smell ‘t! O villainy! / I thought so then. I’ll kill
myself for grief! / O villainy! Villainy!” (227-30). At first it’s as though Iago thinks that nobody
will believe Emilia, because her opinion does not matter: “What, are you mad? I charge you, get
you home” (231). Still refusing Iago’s command, Emilia asks for permission to speak: “Good
gentlemen, let me have leave to speak. / ‘Tis proper I obey him, but not now” (5.2.232-35).
Emilia knows that what she is about to do is violating her virtues as a renaissance woman, and
she would have normally kept silent, and obeyed Iago. However, after revealing the plot of the
handkerchief, and standing her ground, Emilia is stabbed by Iago. Emilia’s last words are that of
Desdemona’s love for Othello. She was chaste to him, and would never commit adultery. “Moor,
she was chaste. She loved thee, cruel Moor. / So come my soul to bliss, as I speak true. / So
speaking as I think, alas, I die” (299-301). Even though Desdemona died and blamed herself for
something she didn’t do, Emilia’s last words were in Desdemona’s defense. Even though
Desdemona never spoke out against Othello, Emilia vows her loyalties to Desdemona and clears
her name as her final words.
To Iago, he had no other option but to slain Emilia. In sixteenth century society, men
were conditioned to believe that in order to silence your disobedient wife, killing her was an
option. “Emilia’s failure to comply with her husband’s demands leaves her susceptible to Iago’s
Barry 7
brutality” (Douglass, 5). “A renaissance woman is solely a man’s belonging. He does what he
wants and treats her how he wants. She is his property. She is at his disposal” (Douglass, 10). In
her article, she describes Desdemona as being disposable when Othello finally kills her. I would
have to disagree with her, as Emilia is just as “disposable” as Desdemona. Although Desdemona
demonstrated some standards as a renaissance woman, such as her obedience and silence, she
was not as magnified as Emilia was. Desdemona never spoke out against Othello for his false
accusations, whereas, Emilia spoke out in front of everyone, revealing Iago’s plot.
In her article, Ruth Vanita argues that both women in Othello were murdered not just by
their husbands, but the numerous men in the play. When Emilia is stabbed by Iago, Vanita makes
an interesting parallel with men and women, and their innocence. Emilia is surrounded by armed
men, and she stands alone, unarmed. As soon as Iago stabs Emilia, Othello makes a run towards
Iago, and tries to disarm him. At the same time, Montano catches Othello and disarms him,
allowing Iago to slain his wife (352).
Gratiano says an ironical phrase upon Emilia’s stabbing: “The woman falls!” (5.2.283).
This statement is a mere metaphor for Emilia’s denunciation back in act four, scene three, where
she blames men for a woman’s downfall. Although she said husbands are to blame for their unfulfilled needs, they [husbands] literally create their downfall. Vanita argues that “true irony” of
the play’s representation of the male-female relationships is the fact that two women accused
morally of “falling,” physically fall right in front of our eyes (352). The women are of their
possession, and at any given moment, can dispose of them at anytime.
Unlike Desdemona, whose last words were to take the blame of committing adultery,
when she didn’t; Emilia dies clearing her mistress’ name and true love for Othello. She asks to
Barry 8
be laid next to Desdemona, which to the audience shows that she was more loyal to Desdemona
than rather to her husband.
In conclusion, Emilia does make a huge impact on the tragedy in Othello, but only
because of the virtues that were expected of her. In the beginning, Emilia was a good little wife
to Iago. She obeyed his commands; never spoke out against him, submitted to his wants, and
never committed adultery. However, in the final act of the play, she turned against him, showing
her true loyalties to her lady, Desdemona: She cleared her name of ever committing adultery,
proved she had true love for her husband, Othello, and even asked her body to be laid next to
Desdemona’s. If it weren’t for these standards that women had to abide by, such as chastity,
submission, obedience and silence, then Shakespeare’s Othello would not have been classified as
a tragedy. Emilia stealing the handkerchief for Iago was the key object to Iago’s plot, and many
think that because Emilia stole the napkin, she is to blame for the tragedy. Unless you have an
understanding about the women in the sixteenth century and their tasks as being ideal
renaissance women, as I just explained, then you will believe that Emilia had no choice but to
obey Iago.
Barry 9
Works Cited
Bartels, Emily C. "Strategies of Submission: Desdemona, the Duchess, and the Assertion of
Desire." Studies in English Literature, 1500-1900 36.2 (1996): 46 par.. Web. 8 Dec 2010.
Douglass, Alison. "A Society That Kills: Patriarchal Violence in Othello." 1-3. Web. 29 Nov
2010.
Hammons, Pamela. "Robert Herrick's Gift Trouble." Criticism 47.1 (2005): 31-64. Web. 1 Dec
2010. Project Muse
Neely, Carol Thomas. "Women and Men in Othello." William Shakespeare's Othello (1987):
79-104. Web. 8 Dec 2010.
Vanita, Ruth. "'Proper' Men and 'Fallen' Women: The Unprotectedness of Wives in Othello."
Studies in English Literature, 1500-1900 34.2 (1994): 341-356. Web. 8 Dec 2010.
<http://www.jstor.org/stable/450905>.