Desdemona revels in her raunchy tales of conquest after sleeping with Othello’s entire encampment. The other crucial and redesigned women of this Shakespeare tragedy are Emilia, Desdemona’s servant and Iago’s wife, and Bianca, now a majestic whore of Cyprus, who serve as her foils and rapt listeners. Desdemona is pestered by Emilia, who is unwillingly loyal, regarding her husband’s military promotion. On the other hand, her goal is for him to leave her a wealthy widow as quickly as possible. Now a streetwise but painfully naive prostitute, Bianca visits Desdemona, mistaking her for a good friend and fellow hooker (at least one night a week). When Bianca discovers that Desdemona knows intimate details about her lover, Cassio, she fears the worst. Even though Desdemona and I have never been intimate, her life is soon jeopardized when her husband, Othello, suspects her of cheating as well.
Emilia reveals why she considers herself fortunate to have come across Desdemona’s handkerchief: Iago, the spouse, keeps nagging so that she can take it. However she is not certain why, she feels glad once she lastly gives in. Othello’s handkerchief is more than just a sign of loyalty to Desdemona. Othello’s faithfulness is symbolized by the handkerchief, which he gives to Desdemona as a pledge and a wish for her to remain faithful to them. He acknowledges the value of the artefact and intends to use it as a devastating weapon.
On a similar note, after returning her handkerchief to the persona, Emilia tells Iago that if Desdemona realizes the item is missing, she would indeed be upset, therefore except if the handkerchief serves a critical reason, she will return it to her mistress (Brodie et al.,2016). Emilia intuitively perceives Desdemona’s has an intense affection, love and loyalty for Othello, and she comprehends that this handkerchief is a metaphor for these emotions. Notably, Emilia shows loyalty to both her mistress, Iago, and the husband. In this scene, Desdemona is put to the test. By delivering her the handkerchief, she complies with Iago’s demands. “If it be not for some cause of import,” she says, she betrays Desdemona and unintentionally supports Iago in his scheme to assassinate Othello and everything he holds dear.
In this speech, Lago reveals his nefarious scheme for Desdemona’s handkerchief.: He plans to put it in Cassio’s chamber as “proof” that Desdemona and Cassio are having an affair. Iago recognizes that a modest present like as a handkerchief may seem insignificant to some, but it signifies a great deal to others. Othello fills the handkerchief with considerable venom as a jealous man. Iago recognizes that his falsehoods have already cast doubt on Desdemona’s faithfulness in Othello’s mind. He hopes that the handkerchief in Cassio’s possession would prove Desdemona’s adultery, resulting in the deaths of Cassio and Othello, two men he despises. This aspect is evident when he says,
“I will in Cassio’s lodging lose this napkin/
And let him find it. Trifles light as air/
Are to the jealous confirmations strong/
As proofs of holy writ. /
This may do something. /
The Moor already changes with my poison.” (3.3.329–333)
Desdemona tells Emilia how important the handkerchief is to her, much like Desdemona does in Shakespeare’s soliloquy.
Although he feels Othello is far too noble a guy to be affected by emotion such as jealousy, she comprehends how the present that represents his love would be upsetting to him. Emilia inquires about Othello’s jealousy, as though she can’t believe her ears—possibly because of her own jealous husband, Iago. Desdemona says that she hasn’t seen Othello in a long time and doesn’t think he feels this way. “the sun where he was born / Drew all such humor from him.” Iago’s envious plans, ironically, changes the handkerchief’s symbolism of affection and loyalty, to a deceptive weapon, “given Cassio ‘s fake relationship with Desmona.
Isolation is a common strategy used to protect oneself or exert control over others. It may be used for a variety of purposes, including interrogation, illness treatment, and abuse (Brodie et al.,2016). It is, without a question, one of the most unpleasant feelings one may experience. The name of the game is isolation. According to Northrop Frye, “nowhere can tragedy individualize the audience more deeply than in the sorrow of isolation.” Whatever the tragic hero has done, we are never so intelligent or virtuous that we cannot partake in the repercussions of his fall with him,” noted someone while examining Shakespeare’s tragedies, and this is especially true in the case of Othello. Many of the characters in Othello engage in self-isolation, and many of them do so unconsciously. Desdemona is distinguished by her trusting and innocent personality. This obstructs her vision and hinders her from making important assumptions that may have saved her life. She was certain that Othello would never be envious of her or think anything bad about her. She followed his instructions and was perplexed as to why he accused her of something she hadn’t done. She went to bed without asking for help or, at the absolute least, staying the night as a result of these occurrences (Brodie et al.,2016). If Emilia had asked, she would have accepted to stay. Emilia, on the other hand, has gone into seclusion.
Reference
Brodie, Meghan. “Joanna Mansbridge, Paula Vogel.” (2016): 256-258.
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