Desdemona being sexualised and commodified Flashcards
Thieves, thieves!
Iago 1.1 - Othello as a criminal, commodifying Desdemona as though she is an object that can be stolen
you’re robbed
Iago 1.1 - suggesting again that Desdemona is an object that can be owned and stolen, characteristic of patriarchal Renaissance society where women would be ‘owned’ by men
now, now, very now, an old black ram/Is tupping your white ewe
Iago 1.1 - epizeuxis creates a sense of urgency and panic in the vulgar language, the sexual image suggesting that Desdemona’s ‘white’ purity and moral innocence is being corrupted and tainted
the devil will make a grandsire of you
Iago 1.1 - derogatory, racialised language associating Othello with hell, the sexualised language creates panic as a woman’s virginity and chastity in the Renaissance was their most important virtue
your daughter covered with a Barbary horse
Iago 1.1 - sexualised language that once again dehumanises Othello and suggests that the only important part of their relationship is in their sexual connection and intimacy
your daughter/And the Moor are now making the beast with two/backs
Iago 1.1 - sexualising language that again suggests that their union is most important on matter of their sexual union, rather than care, love or affection
O heaven, how got she out?
Brabantio 1.1 - commodified a though she is a prisoner who should have no free will or ability to leave
he tonight hath boarded a land carrack
Iago 1.2 - sexual image evoked by the word ‘boarded’, and the commodification of Desdemona, as a ‘land carrack’ is a treasure ship, suggests that she is useful only for materialistic gain and to progress/increase Othello’s status
O thou foul thief
Brabantio 1.2 - suggests that Desdemona is an object that Othello can steal
stowed my daughter
Brabantio 1.2 - suggests that he views Desdemona as if she were a piece of luggage/object that can be hidden away
She is abused, stolen from me and corrupted
Brabantio 1.3 - suggests that Desdemona is an object or possession that can be stolen
I won his daughter
Othello 1.3 - the use of verb ‘won’ evokes the language of war that Othello often uses to refer to love, suggesting both that he has earned her love, but also carrying possessive and objectifying connotations, suggesting that Desdemona is a prize to be won
A maiden never bold
Brabantio 1.3 - suggests that Desdemona is a subservient woman
jewel
Brabantio 1.3 - the materialistic term of endearment hints at Desdemona’s beauty and the care that should be afforded to her, whilst also suggesting that she is an object of value to be prized and marvelled at
She must change for youth; when she is sated with his body she will find the error of her choice: she must have change, she must
Iago 1.3 - believes that Desdemona only lusts for Othello and doesn’t love him, viewing her as only an object of sexual desire rather than a person, characterising her alongside the reputation of Venetian women and their sexual promiscuity
a super-subtle Venetian
Iago 1.3 - suggests that Desdemona only wants sex from Othello, playing into stereotypes of Venetian women
