Iago manipulates a conversation with Cassio about his courtesan to make it appear to Othellowho is eavesdropping at the behest of Iagothat Cassio is talking about Desdemona. Cassio, meanwhile, has given the handkerchief to a courtesan with whom he is intimate. When Othello asks Desdemona about the handkerchief, she tells him that it was lost (which is the truth as she knows it). Later, fortune literally drops Desdemona's handkerchief into Iago's hand he gets the handkerchief from Emilia, who discovered it, plants the handkerchief in Cassio's room, and then tells Othello that he saw Cassio with it. The scenario Iago suggests is that Cassio and Desdemona are having an affair. As Iago and Othello view the scene, Iago plants seeds of doubt and jealousy in Othello's mind concerning Desdemona's fidelity. This accomplished, Iago goes straightaway to Othello so that he can lead him to where Desdemona and Cassio are talking. Then Iago has Cassio visit Desdemona, saying that an appeal to her might do well to convince Othello to reinstate him. He tricks Cassio into getting drunk, then has Roderigoa former suitor of Desdemona whom Iago has convinced to aid him with the hope of winning Desdemona backpick a fight with Cassio that ends in Cassio's arrest. When they've arrived in Cyprus, Iago sets his machinations to motion. When Othello is posted to Cyprus by the Duke of Venice, Iago escorts Desdemona there to meet him, taking along his own wife, Emilia. Othello has secretly married Desdemona, the beautiful daughter of Venetian senator Brabantio, and Iago determines to use Desdemona as the means of his revenge. However this again presents Desdemona as a powerless victim as she relies on men (Othello, Brabantio and God) to shape her life.Othello, a Moorish general of Venice, has promoted Cassio as his lieutenant Iago, who was hoping for the promotion himself, makes plots against both Cassio and Othello to exact revenge. However, Desdemona's powerlessness to this abuse is shocking to both modern and Shakespearean audience's as Desdemona is clearly virtuous, often using religious references 'heaven knows.' to show this. These terms of address are particularly shocking to a modern audience is which women have more power. 'my lord' contrasting to Othello's use of 'strumpet' 'whore'. This continues throughout the play as Desdemona uses obedient terms of address e.g. She is a powerless victim from the start of the play. Instead of gaining power, Desdemona simply swaps the men who hold power over her. 'You are my father.but here's my husband and so much duty as my mother showed to you'. However, Desdemona's 'choice' is again dependant on men. One may argue that Desdemona gains power through her marriage. This can be seen through the verb 'escape' as it implies Desdemona was a powerless prisoner. Clearly, it is Branbantio's choice to grant freedom to Desdemona- she is dependant on him. This is explemified in the utterance of Branbantio as he states that Desdemona's 'escape' would cause him to 'hang clogs' on other children. This 'power' is not truly hers and thus she remains powerless. However, it is clear that whenever Desdemona has choice, it is granted by men. It has been suggested that Desdemona is not a powerless victim as she has choice. Finally, Desdemona is a passive victim of tragedy's inevitability as seen through the image of the handkerchief. She is also a powerless victim because she lacks a voice throughout the play. I agree with the statement as although one may argue that Desdemona has choice and is thus powerful, this choice is always granted by men. In Othello, ,Shakespeare keeps within the time and social constraints surronding women when creating the tragic victim, Desdemona.
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