Desdemona para

• para 1 point?


  Arguably, Shakespeare presents Desdemona as the embodiment of virtous ideals, in doing so dramatises the failure of a women perceived as perfectly virtous or saintly.
• In Othello's soliloqu, the third-person female pronoun "she" is repeated - "she gave" "she thanked" "she wished" "she swore"
• Ironically, in a speech of Othello's defense he envokes the women more than himself, perhaps, presenting a version of Desdemona, before the audience gets to hear her
• Introducing her to "witness" in other words echo or validate his statement, not necessarily her own
• Similarly, the end of the play ends with assumption and misunderstandig. Othello assumes D is a "Strumpet" and the "cunning whore of venice". Futher supported by Liz Lewis who argues that the tragedy occurs because of the views Othello already possessed of women. Therefore, in his linguistic tendency of verbal repetition - "whore" "strumpet" etc it becomes a form of proof and validation of his assumptions.
• evidence


  Lisa Jardin argues that Desdemona "becomes a stereotype of female passivity". Whilst, her perceived identity as "the grace of heaven", "divine Desdemona" and "Dian's visage", through sonic repetition and imagery create this idea of Desdemona as a pure, submissive Christian wife, her first action within the play is an action of defiance.
• evidence

  her "divided duty" does not deem her passive, defying her father for the "love" wanting to "love the Moor and live with him". Perhaps, "live with him" has sexual connotations in which Desdemona desires a life, a future with Othello, only to be obtained through marriage. Further, implying Desdemona is not the embodiment of purity but equally if not more a person with human desire.
• evidence

  The assumption of Desdemona's holy nature is revealed as she is described as "the grace of heaven", "divine", and "Dian's visage". In which the sonic repetition and religious imagery reinforce the idea of Desdemona as pure and submissive.