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Ryan HawkinsDr. HoganENG 05813 December 2010

Emilia’s Rebellion in Othello & Miranda as Property in The Tempest: The Late 17th Century’s Patriarchal View of Women Mirrored Onto the English Stage

A patriarchal society is one that upholds that view that the male is the powerful sex, and

the female is the ruled sex. Men make decisions, and women follow. This issue of power is

based on the historical power of men over women (physically and lawfully) and is currently an

unwritten rule that is both allowed and empowered, often unknowingly by both men and women.

It is the reason men are paid substantially more in a job that women equally perform. This

patriarchal influence of power is the cause of many struggles for women in William

Shakespeare’s plays. And, as Shakespeare tended to pull from true, historical events for plot, it

is not shocking that women were depicted on the stage as the pawn of men.

Women were, historically, victims of the battle for power between men. In Shakespeare’s

plays Othello and The Tempest, two female characters are depicted as patriarchal prisoners in

two very different ways. Miranda, in The Tempest, and Emilia, in Othello, are both written as

women with the ability to make choices, which some people read as very powerful female

identities. However, Miranda and Emilia are each victimized and treated as property by the men

in their lives. In each of their characterizations, Shakespeare wrote the women as the objects of

men; owned, ruled, and pawned as the owner saw fit.

It is within the text of The Tempest, that Shakespeare mirrors the patriarchal view of

women as property. The sole surviving, female character of Miranda plays the role of pawn in

the testosterone-driven power struggle within the play. Prospero, her father, decides to give her

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to Ferdinand, Alonso’s (the King of Naples) son, so that the political ties of Naples to Milan will

aid him in regaining power over Milan. The terms “give her” are important, because he loves

her as a daughter, but treats her as property. Melissa Sanchez, in her article “Seduction and

Service in The Tempest,” defends this view of Miranda’s purpose as a political pawn when she

wrote, “…she is in fact acting out a predetermined role in her father’s plot, for Prospero’s

restoration hinges on her marriage (66).

This plot began after Prospero uses the magical influences of his servant, Ariel, to bring

Miranda and Ferdinand together. It is through Ariel that it becomes clear that Prospero wanted

Ferdinand to be stranded alone and then to be introduced to Miranda, as Ariel says, “And, as

thou bad’st me,/The King’s son have I landed by himself,” (1.2.220-22).

Soon after, another servant of Prospero’s, the island native named Caliban appears and

yet another political plot of Prospero’s is uncovered (also using Miranda as a sexual pawn).

After being banished and arriving on the island, Prospero realizes that he has no power there.

The island is ruled by Sycorax, and the only other inhabitant is Caliban (her son). Laying in

wait, Prospero waits for Sycorax to die and then pretends to care for Caliban, letting him become

a part of the family. But, being that Caliban is nothing more than a monster, as Prospero is prone

to calling him, Prospero waits for the inevitable to happen. After Caliban attempts to rape

Miranda, Prospero immediately treats Caliban as nothing more than a slave, tending to the

grounds and bringing firewood at Prospero’s will.

In this case, Prospero’s power arose from his willingness to wait for the human nature of

a man to surface. Prospero once again used Miranda’s existence as a woman, yet merely a girl at

that time, to entice Caliban into doing something that would immediately change his political

status from the son of power to a criminal. And, for Prospero that is a much better position to

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have Caliban in so that he could assume a powerful stance above him. As well, Miranda would

not have any of the assumed womanly feelings of compassion for Caliban due to the fact that he

was trying to harm her. She substantiates this view, as she says, “’Tis a villain sir,/I do not love

to look on” (1.2.313).

This is all due to Prospero using Miranda as an object instead of treating her with the

respect due to a daughter that he loves and wants to protect from that kind of abuse. It became

clear that Prospero has no issue with abusing her himself by subjecting her to the patriarchal

views that he supports. And, in turn, Caliban seems to share the same patriarchal views on the

matter as he says about the attempted rape, “O ho! Would’t have been done!/Thou dids’t prevent

me; I had peopled else/This isle with Calibans” (1.2.352-54). Caliban would have used Miranda

as an object meant to merely reproduce his children, creating his own population on that island.

If Caliban had his way, he would use her as an object just as her father is.

Sanchez also realizes the power struggle that Prospero is trying to inflict upon Miranda,

Ariel, and Caliban as she writes, “Because Prospero claims greater power, he may be even more

tyrannous than his predecessor: the soft pine in which Sycorax incarcerated Ariel for a dozen

years is exceeded by the hard, unyielding oak in which Prospero threatens to deposit him” (60).

Prospero wishes to have more and more power; power over Miranda, power over Ariel, power

of Caliban, and the ability to regain his power over Milan. Miranda will not have a choice to

marry, as it was Prospero’s game to regain power that led her to her future husband in the first

place. The only power Miranda has it playing the role of pawn in her father’s power struggles.

Prospero’s plans begin as Ferdinand arrives saying, “…I have followed it - /Or it hath

drawn me rather” (1.2.397-98). Ariel, with his magical invisibility and music, did as Prospero

asked and brought Ferdinand to Miranda so that they could meet. And, after they do, it quickly

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becomes apparent that Ferdinand would also be inflicting the same patriarchal view on Miranda.

He quickly inquires of Miranda, “My prime request,/Which I do last pronounce, is – O you

wonder – If you be maid or no?” to find out if she is unmarried and if she is a virgin (1.2.429-

30). Soon after, even though she has told him she is a virgin, he asks again, “O, if a virgin,/And

your affection not gone forth, I’ll make you/The Queen of Naples” (1.2.451-52). Even as

Prospero’s eyes widen at the realization that his plan is working, when he hears the word queen,

it becomes clear that in this “fictional” romantic world on the stage, the first patriarchal question

to ask a woman is, “Are you a virgin?” Men can sleep with whomever they want. This is

significant due to the fact that when they are upset with women they call them whores, yet they

are very appreciative of the sex that profession itself supplies them with, whether they are

married or not.

In accordance with this belief, Ferdinand quickly throws in a story of the loves that he

has had before Miranda, “For several virtues/Have I liked several women; never any/With so full

soul but some defect in her/Did quarrel with the noblest grace she owed” (3.1.42-44). The

implication is that a woman may seem like the greatest thing, yet there will come a time when

her true colors will show, and it is the right of the man to just walk away and continue his search.

Also, it is implied that he had been sleeping with these women, and it is the right of the man to

do so and not for the woman to deny him. Deception, on a man’s part, in this depiction of a

patriarchal society is allowed.

Ferdinand quickly finds himself doing errands for Prospero in the hopes of marrying

Miranda. A method to the means for him, and upon having a solitary conversation with

Miranda, he once again solidifies the patriarchal tone of the play, in regards to women. Miranda

wants to give him a break from gathering wood, so she offers to do some of it herself. Ferdinand

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replies, “No, precious creature./I had rather crack my sinews, break my back,/Than you should

such dishonour undergo/While I sit lazy by” (3.1.25-28). A woman doing man’s labor is not

viewed well in the patriarchal society. And, men should flat out refuse to let women do any sort

of manual labor.

Sanchez, in her article, notes this quote from Ferdinand, “The very instant that I saw you

did/My heart fly to your service; there resides/To make me slave to it. And for your sake/Am I

this patient log-man,” commenting on the emphasis that should be placed on the word “service”

and the various interpretations that could be made (73). Ferdinand is describing how he fell in

love with Miranda the moment that he saw her. In this argument, the service of him acting as a

slave to her could actually be the service that she is bound by society to do for him. That is, to

be his sexual slave and not the opposite that he is inferring here. Considering the fact that the

two are each at the will of Prospero’s magical plan, this love-at-first-sight declaration of

commitment is less than convincing.

In her response, to Ferdinand’s offer of a form of male, love slavery to her, Miranda

declares some patriarchal views within herself. She weeps and says, “I am your wife, if you will

marry me./If not, I’ll die your maid. To be your fellow/You may deny me, but I’ll be your

servant/Whether you will or no” (3.2.83-84). Miranda, viewing herself as property to hand over

completely to this man, is giving Ferdinand endless power over the rest of her life. As a

marriage would declare, she would become his in every sense of the word, and if he denies her

marriage, she would still do the same.

Prospero, most clearly, makes the connection of his own daughter to that of property to

be bought, or in his own case, bartered. He declares to Ferdinand, “Then, as my gift and thine

own acquisition/Worthily purchased, take my daughter” (4.1.13-14). Prospero quickly reiterates

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the fact by saying, “She is thine own” (4.1.32). Ferdinand will now own her Prospero had

before, and the only difference is that she is going from daughter to wife. This idea is

reintroduced as Ferdinand explains to his own father, Alonso, that he is going to marry Miranda,

“…by immortal providence she’s mine./I chose her when I could not ask my father” (5.1.192-

93). The words “mine” and “chose” infer how he views this woman. It is through these

inferences of ownership, servitude, and marriage that Miranda’s character is continuously

disempowered in this patriarchal society and the views forced upon women, and unfortunately

sometimes believed by these women to be true.

Shakespeare’s Othello presents another instance of the oppressive nature of the

patriarchal view of women, only this time in a severely violent way. Putting the severity into

one sentence, Othello murders his wife, Desdemona, under the assumption that she had an affair,

and Iago, who told Othello about the supposed infidelity, murders his own wife after she exposed

this lie. This presents what Ruth Vanita wrote about, in her article “’Proper’ Men and ‘Fallen’

Women: The Unprotectedness of Wives in Othello,” and it happens to mirror the argument that

wives are the possession of the husband, “This concurs with Othello's own insight when he

describes murderous jealousy as innate in the husband-wife relationship which posits the wife as

the exclusive possession of the husband” (342). Although this quote references Othello’s

feelings of betrayal towards his wife, Desdemona, Vanita’s quote also reflects onto Iago’s view

of Emilia as well.

It is through these feelings of betrayal that both men are drawn to committing the most

violent crimes that prove the subconscious existence of the patriarchal belief that women are the

property of the men they are married to. Iago’s deception of Othello is parallel to the rumors that

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he hears about his own wife having slept with Othello. And, even though at first he may not feel

that sure that the gossip is true, he recognizes it nonetheless when he admits:

“I hate the Moor [Othello],

And it is thought abroad that ‘twixt my sheets

He has done my office. I know not if’t be true,

But I, for mere suspicion in that kind,

Will do as if for surety.” (1.3.368-72)

Emilia’s own character is one that respects and, as is common in plays reflective of the

patriarchal views of women, believes in him. It is because of her faith in her husband that she

makes one of her biggest mistakes, that eventually brings about her own death. Othello gave

Desdemona a handkerchief that supposedly holds magical power over her and keeps her under

his power and makes her love him. Iago asks Emilia to get that handkerchief, and she has no

idea why he would want it. Othello drops it onto the floor accidentally, right in front of Emilia.

Even though her character seems independent in thought, she is emotionally forced to pick it up

and take it to Iago.

Emilia struggles within herself to decide on whether or not to immediately give it to Iago.

The following dialogue follows this struggle between friendly loyalty and her loyalty to her

husband:

“My wayward husband hath a hundred times

Wooed me to steal it, but she so loves the token –

For he conjured her she should ever keep it –

That she reserves it evermore about her

To kiss and talk to. I’ll ha’ the work ta’en out,

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And give’t Iago.” (3.3.296-298)

Iago finds Emilia with the handkerchief, and he takes it from her. She doesn’t hide it from him,

yet she does speak up to Iago and ask what his intentions are with it. This moment comes back

to haunt Emilia, as she will soon discover that she has betrayed her best friend (Desdemona), and

will eventually have to turn against her own husband to defend her friend.

It is, perhaps, Emilia’s fear of how living in a patriarchal society would affect her if she

told Desdemona the truth about the handkerchief when she was asked. Desdemona pointedly

asks her, “Where should I lose the handkerchief, Emilia” (3.4.21)? To which Emilia surprisingly

responds, “I know not, madam” (3.4.22).

It is uncharacteristic of Emilia that she would admit to finding it earlier. In fact, when

Desdemona asks her yet again, Emilia answers with a blatant description of the patriarchal

situation that all women are finding themselves afflicted with, “They [men] are all but stomachs,

and we all but food./They eat us hungrily, and when they are full,/They belch us” (3.4.100-02).

Emilia is, basically, spelling out that their husbands are of animalistic nature. They take what

they want, and throw the women away when they are finished with them. They are living in a

man’s world, so what is it that women can do? Emilia’s character vocalizes what Shakespeare is

mirroring on the stage about the true life of women in the 17th Century. These women are being

objectified and dehumanized.

However, quickly Emilia begins to see the error in handing the handkerchief over to Iago.

Othello, who speaks frankly with Emilia about the rumors of Desdemona having an affair,

questions his wife’s loyalty. Shakespeare utilizes her response as foreshadowing to Emilia’s

final conflict with Iago, or at least the fact that Iago will pay for betraying Othello. Emilia talks

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of those spreading the infidelity rumors, “If any wretch ha’ put this in your head,/Let heaven

requite it with the serpent’s curse” (4.2.16-17).

Shakespeare further adds fire to how Emilia will respond to discovering that her husband

will be the victim of the serpant’s venom. While Desdemona, Iago, and Emilia discuss Othello’s

belief that Desdemona is cheating, Emilia further slams the guilty party cursing, “The Moor’s

abused by some most villainous knave,/Some base, notorious knave, some scurvy fellow”

(4.2.143-44). Immediately, perhaps with anticipation of being discovered, Iago tells Emilia

speak like this only in private with himself. Of course, in true Emilia character, she continues

speaking up. It is Emilia’s insistence to have her voice heard that makes her one of the play’s

most obvious, anti-patriarchal characters.

Again, passionately talking with Desdemona about what husbands think of their wives,

Emilia flatly declares their beliefs more false than true, “Let husbands know/Their wives have

sense like them. They see, and smell,/And have their palates for both sweet and sour,/As

husbands have” (5.1.91-94). She points out the humanity of women, which is something no

other character seems to see. This point is quickly proven, as the story of the handkerchief

unfolds, and Emilia discovers her own husband’s wickedness.

Othello, out of rage and feelings of betrayal, strangles Desdemona to death. Iago’s plan

to drive Othello to madness seems to have worked. Emilia discovers the murder, and in true

form, stands up to Othello calling him a murderer. Othello warns her to be quiet, to which she

responds declaring her own source of power, “Thou hast not half the power to do me harm/As I

have to be hurt” (5.2.169-70).

Emilia screams for others to come and hopes that Othello will be dealt with as a

murderer. However, something altogether different happens. Iago appears, with others, and they

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circle the bed where Desdemona lies, with Emilia standing somewhat in the middle of it all. The

heated discussion brings up each betrayal in the play. And, when it comes to the handkerchief

and Desdemona’s supposed adultery, Emilia discovers her own husband’s treachery.

In the most blatant display of the power men have over women, Emilia is surrounded by armed

men and tells Othello of Iago’s betrayal admitting, “O thou dull Moor, that handkerchief thou

speak’st of/I found by fortune and did give my husband” (5.2.232-33). Iago, in a rage due to her

uncovering his guilt, stabs his wife. Not one man in the room tries to stop him. Vanita’s article

supports this patriarchal view of the reasoning behind the men’s refusal to interfere. Vanita

writes, “Emilia's death at her husband's hands is again attributable to the onlookers'

nonintervention. This is one of the rare cases where wife-murder is represented as occurring

because Emilia is "unfaithful" not sexually but mentally. She breaks faith with lago by choosing

to be loyal to Desdemona rather than to him” (343). It quickly becomes clear that Emilia’s

power was found in her voice and in her loyalty to women.

Whether Shakespeare was making a statement on the power struggle of women in a

patriarchal society or not, the play puts Emilia on a soapbox and uncovers the mistreatment of

women, especially by their husbands. Her murder, and the lack of protection she received,

provided a public performance of the topical issue.

Emilia’s murder and Miranda’s marriage are on very different points in the spectrum of

how living in a patriarchal society affects women. Vanita provides an explanation of the issue in

a great summation of how men “act on the assumption that husband-wife relations are governed

by norms different from those that govern other human relations” (341-2). Emilia’s case

supports this completely, having succumbed to her husband in this very way. Coincidentally,

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Miranda’s situation is applicable as well. But, in her case, it is a father-daughter relationship and

all the same rules apply.

The Tempest and Othello were two plays that weren’t written and staged to suggest

political and social change, but they were able to publicly show women’s struggle against the

oppressive nature of men. At least now readers can begin to see how Shakespeare’s method, of

taking true stories and fictionalizing them, actually created a mirror effect of society onto the

stage, which unknowingly commented on their mistreatment of women.

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Works Cited

Sanchez, Melissa E. "Seduction and Service in The Tempest." Studies in Philology 105 (2008): 50-82.

Shakespeare, William. “Othello.” The Norton Shakespeare: Based on the Oxford Edition. Ed. Stephen Greenblatt, Walter Cohen, Jean Howard, Katharine Eisaman Maus. New York: WW Norton & Company, 2008. Print.

Shakespeare, William. “The Tempest.” The Norton Shakespeare: Based on the Oxford Edition. Ed. Stephen Greenblatt, Walter Cohen, Jean Howard, Katharine Eisaman Maus. New York: WW Norton & Company, 2008. Print.

Vanita, Ruth. ""Proper" Men and "Fallen" Women: The Unprotectedness of Wives in Othello." Studies in English Literature, 1500-1900 34 (1994): 341-56.

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