Shakespeare’s Idea of Misogyny as Depicted by Iago Towards his Wife Emilia

Shakespeare’s Idea of Misogyny as Depicted by Iago Towards his Wife Emilia

            In William Shakespeare’s Othello, the torment undergone by most of the characters at the hands of Iago has been used as a driving force in the book. The main victim however is his wife Emilia who has been constantly underrated and treated as a lesser being by his husband Iago. Although in most of the scenarios she seems not to understand that, the bitter truth is that she has been exposed to high degree of abuse and manipulations by her heinous husband even before the wicked intrigues against women in the book begins. This paper reflects on Shakespeare’s idea of misogyny as driven by Iago towards his wife Emilia through his consistent disregards and abuses.

As contemporary readers we can be tempted to look down upon Iago’s actions as mere predominant misogynistic attitudes exhibited by male gender towards the female gender in sixteenth century, “The very presence of misogynist discourse in the Renaissance,” declares Valerie Wayne, “suggests the instability of that view of women. It was not that one no longer associated women with evil, but that the ideology was at issue and not an unquestioned presupposition or a given of the culture” (157). And that came in consideration to a scenario where Susanna, William Shakespeare’s daughter had sued a man who had slandered her to imply the severity of such like Iago’s crimes.

Pinpointing abuse and abusers has always been difficulty because of factors like their races, economic status, and backgrounds. In this book however, there are a number of features which Iago share with abusers of women. For instance, his exaggerated self- esteem has been presented right when he appears on the scene boasting of his recommendation by three influential officials for Othello’s lieutenant position.

The same ego he has in the political platform has equally been depicted in his interaction with his wife Emilia. His very first utterance to his Emilia in the play is a direct humiliation to her in the public as he tries to depict his control over her wife. His “Sir, would she give you so much of her lips/ as of her tongue she oft bestows on me, / you would have enough”  utterance in response the scenario where Emilia kisses Cassio can be seen in different angles. First of all, he gives this kiss a lot of weight indicating his unwarranted suspicion on sexual relationship between Cassio and his wife Emilia. Considering the fact that he makes these segments publicly, it’s an indication that Iago was a rude spouse and who is too jealous and extremely possessive to an extent of looking for any reason to accuse his wife Emilia of unfaithfulness no matter how unrealistic his beliefs were. Secondly, he appears to be bragging on how he has dominated over his wife Emilia publicly. These two approaches are clear indications that Iago is not a respecter of female gender.

In a more profound way and as the critics suggest, the public utterance of Iago was to paint the picture of his wife as shrew. Also, in response her public abuse by his husband, Emilia remained silence and that could mean a lot just as Jane Adamson denotes in a later scene, “she knows. . . . it is less painful to suffer his scornful abuse than to challenge and try to change him” (246). Jane Adamson’s ultimate reply, “You have little cause to say so” was a submissive pretense at her self-defense and which was provoking Iago to utter his broad view on all women, as conniving whores.

After the incident, Emilia’s declaration that her husband Iago shall never write her a commendation seems to be a hurting acknowledgement that Iago has never appreciated her, a situation which he enthusiastically agrees on. This can be drawn from his chauvinistic tendencies and which rarely allowed him to praise women as seen when under duress and inverts his misogynistic merriment to construct resonating acclamations against Desdemona. This abides by Freudian Karen Horney theory that, “By using disparagement, the male could reassure himself that there was nothing to fear from so poor and inadequate a creature” (Davidson 101). And although Desdemona advises Emilia not to learn of him despite of being her husband, we get to understand that she is well versed in the disposition.

Another incidence where Iago’s misogynistic revelry comes out clearly is when his wife Emilia discovers Desdemona’s misplaced handkerchief. She uses the term “wayward” in the scenario and that reveals the inconstant nature of his husband Iago. This is a character of spouses who are in abusive relationships and who are aware that battering incidences can elapse anytime. The declaration that he “hath a hundred times/ Woo’d me to steal it” indicates that Iago is using sexuality to compel Emilia to follow his commands and the reason behind her delayed compliance is her mistress who “reserves it ever more about her”. Lastly, Emilia’s acceptance to token her partner despite of the uncertainties on his intentions is a depiction of the instilled fear following past experiences.