1. Women

2. Desdemona Mature, perceptive and assertive young woman, with a strong belief in the goodness of others. Mature, perceptive and assertive young woman, with a strong belief in the goodness of others. Much loved and admired, and not only by men (Emilia fights to clear Desdemona’s good name in spite of Iago’s threats). Much loved and admired, and not only by men (Emilia fights to clear Desdemona’s good name in spite of Iago’s threats). Defies her father and asserts her right to make a choice based on love. Defies her father and asserts her right to make a choice based on love. Brave decision to accompany Othello to Cyprus and intercedes on behalf of Cassio. Brave decision to accompany Othello to Cyprus and intercedes on behalf of Cassio. Loving and loyal to Othello, and ultimately refuses to blame him for her unhappiness. Loving and loyal to Othello, and ultimately refuses to blame him for her unhappiness.

3. Emilia A contrast to Desdemona. A contrast to Desdemona. A worldly-wise woman, in contrast to Desdemona’s naivety and innocence. A worldly-wise woman, in contrast to Desdemona’s naivety and innocence. Pragmatic, speaking her mind and has matter of fact views on men and marriage, whilst also defending her own sex. Pragmatic, speaking her mind and has matter of fact views on men and marriage, whilst also defending her own sex. Honest and loyal to Desdemona, unable to see though Iago until it is too late. Honest and loyal to Desdemona, unable to see though Iago until it is too late. Instrumental in proving Iago with the pivotal handkerchief, but also in unmasking him. Instrumental in proving Iago with the pivotal handkerchief, but also in unmasking him. Lies to Desdemona about handkerchief. Lies to Desdemona about handkerchief.

4. Bianca A foil to Desdemona. A foil to Desdemona. Used and abused by the male characters in the play. Used and abused by the male characters in the play. Only seen in relation to men and always in a vulnerable position. Only seen in relation to men and always in a vulnerable position. Affectionate and genuine partner to Cassio (Cassio is willing to sleep with her but not marry her.) Affectionate and genuine partner to Cassio (Cassio is willing to sleep with her but not marry her.) Her jealousy mirrors Othello’s but has no power so cannot assert her rights as the wronged party. Her jealousy mirrors Othello’s but has no power so cannot assert her rights as the wronged party. The handkerchief causes her the same anxiety it causes Othello. The handkerchief causes her the same anxiety it causes Othello. Very fiesty Very fiesty Questioning and demanding. Questioning and demanding. She enables Othello to be properly deceived in III, iii. She enables Othello to be properly deceived in III, iii.

5. Woman in Othello Wiser and more rational than males. Wiser and more rational than males. Offer reason to the madness and chaos- the men only make it worse. Offer reason to the madness and chaos- the men only make it worse. Eg Emilia tries to convince Othello that he is wrong about Desdemona They reflect the goodness and sanity in contrast to the evil and jealousy of the men. They reflect the goodness and sanity in contrast to the evil and jealousy of the men. Women are to submit to their spouses and withstand abuse. Women are to submit to their spouses and withstand abuse. Desdemona believes the devil and his vices are responsible for grievances within a marriage. “Heaven keep that monster from Othello’s mind.” Desdemona believes the devil and his vices are responsible for grievances within a marriage. “Heaven keep that monster from Othello’s mind.” Females thought to be weak, lacking stability and more prone to jealousy. Men are given these feminine dispositions – Othello’s rage may be an attempt to rectify his manhood. Females thought to be weak, lacking stability and more prone to jealousy. Men are given these feminine dispositions – Othello’s rage may be an attempt to rectify his manhood.

6. CASSIO CASSIO See for the news. Exit Gentleman See for the news. Exit Gentleman Good ancient, you are welcome. To EMILIA Good ancient, you are welcome. To EMILIA Welcome, mistress. Let it not gall your patience, good Iago, That I extend my manners; 'tis my breeding That gives me this bold show of courtesy. Kissing her IAGO Sir, would she give you so much of her lips As of her tongue she oft bestows on me, You'll have enough. Sir, would she give you so much of her lips As of her tongue she oft bestows on me, You'll have enough.DESDEMONA Alas, she has no speech. Alas, she has no speech.IAGO In faith, too much; I find it still, when I have list to sleep: Marry, before your ladyship, I grant, She puts her tongue a little in her heart, And chides with thinking. In faith, too much; I find it still, when I have list to sleep: Marry, before your ladyship, I grant, She puts her tongue a little in her heart, And chides with thinking.EMILIA You have little cause to say so. You have little cause to say so.IAGO Come on, come on; you are pictures out of doors, Bells in your parlors, wild-cats in your kitchens, Saints m your injuries, devils being offended, Players in your housewifery, and housewives' in your beds. Come on, come on; you are pictures out of doors, Bells in your parlors, wild-cats in your kitchens, Saints m your injuries, devils being offended, Players in your housewifery, and housewives' in your beds.DESDEMONA O, fie upon thee, slanderer! O, fie upon thee, slanderer!IAGO Nay, it is true, or else I am a Turk: You rise to play and go to bed to work. EMILIA You shall not write my praise. IAGO No, let me not. Nay, it is true, or else I am a Turk: You rise to play and go to bed to work. EMILIA You shall not write my praise. IAGO No, let me not.

7. EMILIA 'Tis not a year or two shows us a man: They are all but stomachs, and we all but food; To eat us hungerly, and when they are full, They belch us. Look you, Cassio and my husband! Act 3 Scene 4. Act 3 Scene 4.

8. Representation of women in Othello Submissive? Submissive? Possessions? Possessions? Temptresses? Temptresses? Whores? Whores? Powerful? Powerful?