Desdemona is the noble daughter of Brabantio the Venetian Senator and the wife of Othello, a military commander in Venice.
Initially, Desdemona is introduced to the audience as a beautiful young lady who is soft in nature and would never disobey her fathers commands or expectations. During the first act, her father, Brabantio states “A maiden never bold / of spirit so still and quiet that her motion / Blushed at herself” (Othello, Act 1, Sc. 3, 95-97). However, in the same scene we quickly learn that Desdemona confesses to being “half the wooer” (Othello, Act 1 , Sc. 3, 176) and declares she intends to make her husband Othello, the priority in her life, above her father just as her mother demonstrated the role of a wife is one of greater importance than that of a daughter.
Desdemona: “I am hitherto your daughter. But here’s my
husband:
And so much duty as my mother showed
To you, preferring you before her father,
So much I challenge that I may profess
Due to the Moor my lord.” (Othello, Act 1, Sc. 3 184-189).
This is an early contradiction of character for Desdemona who actually shows herself to be a strong woman capable of standing up to the dominant male figure in her life, rather than the traditional female stereotype assumed by her father thus challenging the theme of arranged marriage prevalent to the 1603 time period. It could also be argued she challenges the racism of that time period because interracial couples were frowned upon in that era. Typified by Brabantio accusing Othello of winning her affections by witchcraft “She, in spite of nature,
Of years, of country, credit, every thing,
To fall in love with what she feared to look on!
It is a judgment maimed and most imperfect
That will confess perfection so could err
Against all rules of nature,” (Othello, Act 1, Sc. 3.114-119)
By contrast, her husband Othello is also a complex character. A middle-aged man known as The Moor due to his North African origin. He is first introduced a respected military man, a decent storyteller and husband very much in love with his wife. The Duke refers to him as “Valiant Othello” (Othello, Act 1, Sc. 3, 49)
As the play progresses, we see Othello become extremely jealous, susceptible to gossip, manipulation tactics and incapable of rational thought and abuses his wife Desdemona before eventually murdering her.
In comparison, Iago is a straightforward character. He is totally jealous. Jealous of the position held by Cassio, furious at being overlooked by Othello for the role. Sexually jealous because of the rumors about his wife and Othello. “I hate the moor, / And it is thought abroad that ‘twixt my sheets / Has done my office. (Othello, Act 1, Sc.3, 386-387) Truly evil, manipulative and cunning.
There is absolutely evidently no good in Iago to begin with whereas there are likable qualities to Desdemona and the same can be said of Othello at first.
Contrasting the impression of Desdemona from the earlier scenes to the central scenes of the play, we gain further evidence of her strength in depth as a woman. Assuring Cassio she will help him become reinstated in favor with Othello “I will give thee warrant of thy place. Assure thee, / If I do vow a friendship I’ll perform it (Othello, Act 3, Sc. 3, 20-21)
A woman of her word, she vows to persistently pursue Othello about this issue “I’ll intermingle everything he does” (Othello, Act 3, Sc. 3, 25) As she continues to pursue the issue with Othello, he tries to silence her by postponing this talk “Not now sweet Desdemon, some other time.” (Othello, Act 3, Sc. 3, 55) however, rather than coming across as strong and caring about a friend. Desdemona actually portrays herself as a persistent nag and helps fuel rumors spread by Iago of infidelity with Cassio. “Why then, tomorrow night, of Tuesday morn; / On Tuesday, noon or night; on Wednesday morn!” (Othello, Act 3, Sc. 3, 60-61) I do think this representation of Desdemona is credible, mostly because it continues the theme that she stands up for what she believes in and is happy to confront the leading male figure in her life. This further insight to her character reinforces her youthful exuberance as during this playful baiting of Othello on this issue, she actually portrays herself as somebody who is more of a child than an adult. Her attitude makes the audience feel she believes she is entitled to get exactly what she wants when she demands it which would be stereotypical of offspring from an elitist background.
When looking at the marriage between Othello and Desdemona, it can be argued her love is a testament to him as opposed to shallow and willful defiance over her father. For example, Othello has a background consisting of a bloodline descending from African kings, successful military man and clearly a man of black ancestry doing well professionally in a world where white people dominated at that time. This suggests he is more than just a smooth talker and could be seen as inspirational. The Duke comments about the tales Othello told Desdemona during the times Brabantio invited him into their home in the past “I think this tale would win my daughter too.” (Othello, Act 1, Sc. 3, 172) but overall, an audience can empathize it takes more than a few good stories to fall in love with somebody.
In the most part, Shakespeare has structured the play so we feel pity for the tragic fate of Desdemona. Initially, she makes a strong start by standing up to her father so we feel a sense of admiration there. However, as the play continues she walks unwittingly into the trap being set by Iago but does not help herself during this time by attempting to force the issue with Othello regarding Cassio.
We see crumblings of her spirit when she confides to Emilia “men are not gods” (Othello, Act 3, Sc. 4, 149) the first moments of her realizing Othello is not as great as she once regarded him. Furthermore, when Emilia asks if it upsets her being called a whore by Othello she replies “it is my wretched fortune” (Othello, Act 4, Sc. 2, 129). Implying it does upset her but is refusing to blame Othello for this upset as she holds onto the love she feels for him.
This compounds the events in act five scene two when she appeals “And you have mercy too. I never did / Offend you in my life,” (Othello, Act 5, Sc. 2, 58-59) and “kill me tomorrow, let me live tonight!” (Othello, Act 5, Sc. 2, 79). Despite Othello being certain, she appeals to his better nature. Firstly, maintaining her stance she never cheated then appealing for mercy as she hopes a bit of time will make Othello simmer down. Shakespeare wanted to show the audience good men are capable of horrendous behavior when polluted by extreme jealousy.
The relationship between Desdemona and Emilia demonstrates her idealistic nature and highlights her lack of real world experience. As seen above, Desdemona blames fate for her situation. Emilia however, is more pragmatic. “Tis not a year of two shows us a man. / They are all but stomachs, and we are all but food: / They eat us hungrily, and when they are full / They belch us.” (Othello, Act 3, Sc. 4, 104-107)
In essence, wives are to be used and abused as their husbands see fit and shows her bitterness towards Iago. A feeling Desdemona shows no evidence of reciprocating about Othello.
In summary; Desdemona represents a woman who is strong when surrounded by loving men who empower her. When she is secure in the minds of men she holds dear, she feels capable and confident enough to do as she pleases. Her nature is idealist and adorable, she looks to the good in people, never considers any one capable of intentionally wronging her. This neatly demonstrates her naivety. Cassio and Iago are both womanizers who are guilty of playing on her kind nature to serve their own interests. Furthermore, once Othello breaks her spirit with his accusations of infidelity and repetitions insults such as “whore and “strumpet” she becomes a tragic victim of falling in love with a man so insecure and jealous she is murdered by him, she stands by and allows herself to be preyed upon by men as she is a ultimately, just a vulnerable young lady.