never bold, of spirit so still and quiet.” He perceives Desdemona as a timid, cloistered young noble woman. After learning Othello has married his daughter, Brabantio expresses disbelief: he runs to her room and realizes she is indeed gone, then laments the loss of a “maid so tender, fair and happy. When we first encounter Desdemona, she is escaping from the cloistered life that her father, Brabantio, expects for her.
She survives the play by operating at the periphery of the military world. Bianca, however, represents an alternative form of womanhood. The women perish because they are unable to fulfill these dual-and sometimes conflicting-martial and marital obligations. It argues that Desdemona and Emilia experienced a double subordination Othello and Iago commanded them as both husbands and as superior officers. This paper aims to synthesize approaches by evaluating the intersections of femininity and militarism in Othello. They argue that Desdemona and Emilia die as victims of patriarchal dynamics and unfulfillable sexual standards. Other writers, like Lisa Jardine, analyze the place with gender studies.
As a general, he naturally turns to his next-in-command, Iago, which proves a fatal error. Burgess argues that “Othello’s military background is a major factor in the disaster which overwhelms him”: accustomed to defusing two-sided confrontations by relying on fixed chains of command, Othello is confounded by more complex social conflicts. Some scholars analyze Othello’s fall by adopting a military lens. Shakespeare’s Othello is familiar to literary scholars and high school students alike: the eponymous Venetian general, falsely led to believe his wife is an adulteress, kills her and, upon realizing his error, himself. By Riley Sutherland, University of South Carolina
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