Emilia

Emilia is a maid-servant for Desdemona, and is traditionally seen as a simple character whose loyalty is not towards her husband, but to Desdemona.

Relationships

In more recent productions, Emilia tends to be presented as a feisty, feminist individual.
You could argue that her marriage with Iago does not seem satisfactory.
There is a suggestion in the text that she once slept with Othello - although it is not clear if there is any truth in this claim.

Desdemona

Throughout the play, her affection for Desdemona makes her stand up to Othello as she feels his behaviour is inappropriate.
She also defends Desdemona’s honour to the very end.
Emilia senses that her husband Iago is no good but perhaps releases this information too late.

Honesty

In the play, Emilia is one of the most honest characters and when she dies, in contrast to the pathos of Desdemona’s death, hers is dignified.
When she discovers Iago’s treachery she becomes furious.
In the early part of the play Emilia is talked about, but not much seen.

The handkerchief

Later, it is Emilia who finds Desdemona's handkerchief, and she then hands it over to Iago as he had been urging her to steal it.
He takes it and forbids her from mentioning its whereabouts.
This attitude shows the patriarchal society in which Emilia has to operate.

Views

One of Emilia’s crucial moments in the play is found in Act 4 Scene 3.
Here, she discusses with Desdemona their differing views on marriage and fidelity.
Emilia speaks with more experience, and states that she would commit adultery if it gained her husband the world and also asserts that husbands are to blame, arguing for equality and mutual respect in marriage.

Importance

Emilia is a crucial character in the play for determining our responses to love, marriage and relationships.
She also provides a critical commentary on the mechanisms of tragedy operating in the play—almost an on-the-spot-reporter seeing and observing events as they unfold.

1Context

1.1Introduction

1.1.1Specifications

1.2Background

1.2.1Shakespeare

1.2.2Love

1.2.3Tragedy

1.2.4Historical Context

1.3Othello

1.3.1Setting

1.3.2Social Issues

2Act One: Summaries & Themes

2.1Act and Scene Summaries

2.1.1Structure

2.1.2The Exam

2.2Scene One

2.2.1Key Events

2.2.2Key Themes

2.2.3Key Ideas

2.3Scene Two

2.3.1Key Events

2.3.2Key Themes

2.3.3Key Ideas

2.4Scene Three

2.4.1Key Events

2.4.2Key Events 2

2.4.3Key Themes

2.4.4Key Ideas

3Act Two: Summaries & Themes

3.1Scene One & Two

3.1.1Scene One: Events

3.1.2Key Events 2

3.1.3Key Ideas: Love & Tragedy

3.1.4Scene Two: Events

3.2Scene Three

3.2.1Key Events

3.2.2Key Ideas

4Act Three: Summaries & Themes

4.1Key Events

4.1.1Scene One & Two

4.1.2Scene Three

4.1.3Scene Three: Key Ideas

4.1.4Scene Four

5Act Four

5.1Scene One

5.1.1Key Events

5.1.2Key Ideas

5.2Scene Two

5.2.1Key Events

5.2.2Key Ideas

5.3Scene Three

5.3.1Key Events

5.3.2Key Ideas

6Act Five

6.1Scene One

6.1.1Key Events

6.1.2Key Ideas

6.2Scene Two

6.2.1Key Events

6.2.2Key Ideas

7Character Profiles

7.1Major Characters

7.1.1Othello

7.1.2Iago

7.1.3Desdemona

7.1.4Emilia

7.1.5Cassio

7.2Minor Characters

7.2.1Roderigo & Brabantio

7.2.2Other Characters

8Key Themes

8.1Love & Tragedy

8.1.1Love

8.1.2Love 2

8.1.3Tragedy

8.1.4Tragedy 2

8.2Other Key Themes

8.2.1Public versus Private

8.2.2Appearance & Reality

9Writing Techniques

9.1Writing Techniques

9.1.1Structure

9.1.2Genre

9.1.3Form & Language

9.1.4Language & Imagery

10Critical Debates

10.1Criticism & Performance

10.1.1Shakespeare's Legacy

10.1.2Traditional

10.1.3Modern & Contemporary

10.2Approaches

10.2.1Feminist Approach

10.2.2Psychoanalytic Approach

10.2.3Marxist Approach

11Approaching AQA English Literature

11.1Specification A

11.1.1Specification A

11.1.2Love Through the Ages

11.2Specification B

11.2.1Specification B

11.2.2Aspects of Tragedy

12Issues of Assessment

12.1The Exams

12.1.1AOs

12.1.2Mark Scheme

Jump to other topics