After Desdemona’s murder in Shakespeare’s Othello, Emilia enters and realizes her husband’s role in the death. “My husband say she was false?” (5.2 159). “He lies to th’ heart.” (5.2 163). Finally, the truth comes out. What makes this all so tragic is that the bloodshed could have been avoided if Emilia and Desdemona were allowed a voice earlier. In the play, a man is judged not only by his actions, but also by his wife’s actions. Othello allows his character to be tested, not by any action he takes, but by the action he believes his wife has taken. His whole identity unravels because of a perceived action on the part of Desdemona. The problem with this is, Desdemona is judged without an opportunity to defend herself properly. Her importance lies in what others say and think about her, but she is not called upon to dispute the evidence against her. In this play, the character and virtue of a woman are very significant, yet the role of a woman is restricted and meager.
Desdemona is introduced as a woman with strong and intelligent opinions. She has an independent mind, and marries Othello despite her father’s objections. Othello appeals to the Duke to allow Desdemona to travel with him to Cyprus, so he may: “be free and bounteous to her mind” (1.3 264). Cassio believes that Othello trusts Desdemona’s opinion. This is the reason he asks her help in getting his position back. Desdemona believes Othello wants to utilize her mind. She assumes he will value her opinion on reinstating Cassio. Instead, it is the first indicator that Othello points to that she has been unfaithful.
Othello claims he respects Desdemona’s insight, but throughout the play, he disregards it. Iago is easily able to plant a seed of doubt that she is unfaithful. Othello pleads with Iago: “If more thou dost perceive, let me know more.” (3.3 244). He is willing to doubt his wife because of Iago’s perception of her actions. After his conversation with Iago, Othello sees Desdemona, but neglects to confront her with his concerns. Instead of trusting her enough to discuss his uneasiness with her, he puts his faith in Iago. When Othello finally confronts Desdemona, he is already convinced of her guilt. He asks her if she is a “strumpet” and a “whore”. Without fully understanding the thoughts leading up to Othello’s questioning, Desdemona is unable to fully defend herself. He doesn’t come right out and ask her if she has slept with Cassio. He never tells her that he thinks she gave her handkerchief to Cassio. Desdemona is unable to understand how: “he might stick the small’st opinion on my least misuse?” (4.2 112). She had thought he had more faith in her than that. He had claimed to value her mind and opinion, but in reality he placed more value on what Iago’s opinions.
Emilia is another voice that, as a woman, is silenced. Iago makes no secret of the fact that he doesn’t respect her intellectually. He speaks to Emilia so rudely that shocked Desdemona says: “Alas, she has no speech!” (2.1 106). He constantly puts her down and dismisses her. When she gives him the handkerchief, he refuses to tell her more than: “I have use for it” (3.3 324). He expects her to obey him unquestioningly. When Desdemona asks her where the handkerchief is, Emilia lies for her husband. She is willing to lie because she doesn’t understand what Iago is plotting.
The word of a man proves to be more highly regarded than the word of a woman in the play. Although importance is placed upon a woman’s honesty, no one seems to believe that the women are being honest. When Othello questions Emilia about Desdemona’s supposed affair, he discounts her answers. He claims she is simpleminded and would lie for Desdemona. He is willing to take Iago’s word over hers.
Iago attempts to silence Emilia throughout the play, and it is interesting that her voice leads to his eventual downfall. When she realizes that he has set the chain of events that lead to Desdemona’s murder, she refuses to lie for him anymore. She ignores his pleas for silence, and reveals that she gave Iago the handkerchief. Emilia’s public declarations offer clarity for Othello and the other characters. She effectively offers an explanation for Othello’s behavior. Emilia’s word is not taken exclusively though. The letters found in Roderigo’s pocket back up the information she has provided. The play shows a man’s voice to be more reliable than a woman’s. Emilia does not speak up without cost, though. Iago kills her for her words and her voice is silenced again.
The women seem to exist in the play as a way to evaluate the men. Throughout the play, it is very important that the women have a flawless, impeccable character. When the woman is chaste and honest, it reflects positively on the man they are involved with. When the woman is promiscuous and immoral, her man is seen as weak and foolish. Othello kills Desdemona because he believes she has ruined his reputation. He believes she is unchaste and that it makes him seem less of a man. His preoccupation with his reputation overrides his trust and respect for his wife. Desdemona transforms from independent and self-assured to being restricted to the role of silent wife. Othello kills Desdemona because she does not adequately defend herself, but he never gives her the opportunity. When Desdemona calls out before dying, Emilia asks who killed her. Desdemona refuses, even when dying to implicate Othello: “Nobody, I myself. Farewell. Commend me to my kind lord. O, farewell!” (5.2 133). Her husband ignored her voice when she was alive and in dying she refuses to use her voice against him. Emilia goes from a silent and obedient wife, to speaking out against her husband. When she realizes what Iago has done, she cannot keep quiet any longer. Iago kills her for betraying him, and ruining his plan. As she lay dying she says, “So come my soul to bliss as I speak true. So, speaking as I think, alas, I die” (5.2 257-258). Emilia is finally able to freely speak her mind, if only for a moment.
