1 Hawkins Ryan Hawkins Dr.

Hogan ENG 058 13 December 2010 Emilias Rebellion in Othello & Miranda as Property in The Tempest: The Late 17th Centurys 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 Shakespeares 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 Shakespeares 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 to

2 Hawkins Ferdinand, Alonsos (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 Mirandas purpose as a political pawn when she wrote, she is in fact acting out a predetermined role in her fathers plot, for Prosperos 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 badst me,/The Kings son have I landed by himself, (1.2.220-22). Soon after, another servant of Prosperos, the island native named Caliban appears and yet another political plot of Prosperos 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 Prosperos will. In this case, Prosperos power arose from his willingness to wait for the human nature of a man to surface. Prospero once again used Mirandas 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 have

3 Hawkins 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! Wouldt have been done!/Thou didst 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 Prosperos 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 fathers power struggles. Prosperos 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

4 Hawkins 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, Ill make you/The Queen of Naples (1.2.451-52). Even as Prosperos 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 mans 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 replies, No, precious creature./I had rather crack my sinews, break my back,/Than you should such

5 Hawkins dishonour undergo/While I sit lazy by (3.1.25-28). A woman doing mans 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 Prosperos magical plan, this love-at-first-sight declaration of commitment is less than convincing. In her response, to Ferdinands 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, Ill die your maid. To be your fellow/You may deny me, but Ill 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 the fact by saying, She is thine own (4.1.32). Ferdinand will now own her Prospero had before, and

6 Hawkins 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 shes 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 Mirandas character is continuously disempowered in this patriarchal society and the views forced upon women, and unfortunately sometimes believed by these women to be true. Shakespeares 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 Othellos feelings of betrayal towards his wife, Desdemona, Vanitas quote also reflects onto Iagos 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. Iagos deception of Othello is parallel to the rumors that 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],

7 Hawkins And it is thought abroad that twixt my sheets He has done my office. I know not ift be true, But I, for mere suspicion in that kind, Will do as if for surety. (1.3.368-72) Emilias 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. Ill ha the work taen out, And givet Iago. (3.3.296-298) Iago finds Emilia with the handkerchief, and he takes it from her. She doesnt hide it from him, yet she does speak up to Iago and ask what his intentions are with it. This moment comes back to

8 Hawkins 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, Emilias 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 mans world, so what is it that women can do? Emilias 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 wifes loyalty. Shakespeare utilizes her response as foreshadowing to Emilias final conflict with Iago, or at least the fact that Iago will pay for betraying Othello. Emilia talks of those spreading the infidelity rumors, If any wretch ha put this in your head,/Let heaven requite it with the serpents 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 serpants venom. While Desdemona, Iago, and Emilia discuss Othellos

9 Hawkins belief that Desdemona is cheating, Emilia further slams the guilty party cursing, The Moors 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 Emilias insistence to have her voice heard that makes her one of the plays 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 husbands wickedness. Othello, out of rage and feelings of betrayal, strangles Desdemona to death. Iagos 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 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 Desdemonas supposed adultery, Emilia discovers her own husbands treachery. In the most blatant display of the power men have over women, Emilia is surrounded by armed

10 Hawkins men and tells Othello of Iagos betrayal admitting, O thou dull Moor, that handkerchief thou speakst 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. Vanitas article supports this patriarchal view of the reasoning behind the mens 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 Emilias 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. Emilias murder and Mirandas 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). Emilias case supports this completely, having succumbed to her husband in this very way. Coincidentally, Mirandas 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 werent written and staged to suggest political and social change, but they were able to publicly show womens struggle against the oppressive nature of men. At least now readers can begin to see how Shakespeares method, of

11 Hawkins taking true stories and fictionalizing them, actually created a mirror effect of society onto the stage, which unknowingly commented on their mistreatment of women.

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.

12 Hawkins 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.