Abstract
The paper argues that Desdemona, the wife of Othello in Shakespeare's play of the same name, is ultimately responsible for her own death through her deceptive actions. The paper details many of her actions that could possibly be construed as deceptive and argues that regardless of the truth of any of those deceptions, her deceit of her father is what causes her downfall.

From the Paper
"It is often believed that Iago is the soul source of the conflict and dishonesty in Shakespeare's Othello, but there is a definite question as to the honesty of Othello's wife, Desdemona. Desdemona's words and actions indicate that she was not completely honest in her protestations of innocence regarding Cassio. In fact, as it will be shown, her dishonesty and deceit was indeed her own downfall that led to her own death at the end of the play. From the very first act in the play we can see the beginnings of Desdemona's deceptiveness when her father Brabantio realizes that she has sneaked out of the house and married Othello without her father's knowledge or permission. Brabantio laments: "It is too true an evil... O she deceives me/ Past thought... O Treason of the Blood!" (Shakespeare 1.1.172-85)."

Tags:othello, desdemona, deception

Abstract
The character of Desdemona in William Shakespeare's tragedy "Othello" reflects an ideal woman in the eyes of men. Desdemona acts in a gentle manner at all times, even though with men she uses her sexual prowess and strong will to achieve her ambitions. The paper shows that Desdemona remains both virtuous and dutiful to her husband, Othello, while slanderous comments about her chaste result in her final death. Therefore, Desdemona's sincerity and faithfulness to Othello become ill spent. Although Desdemona acquires Othello as a husband by her own devices by enabling her femininity to get what she wants, Othello ironically ends up murdering her. The paper shows that Desdemona depicts the male concept of the ideal feminine role of a woman.

From the Paper
"In the tragedy of Othello, Desdemona uses her sexual appeal to men in order to achieve her ambitions. At the beginning of the play, Desdemona manages to seduce Othello through her gentle and passive use of words which men find attractive. When Othello relates the story of their elopement, he comments on how Desdemona professed her love for him. "She wish'd she had not heard it, yet she wish'd / That heaven had made her such a man; she thank'd me, / And bade me, if I had a friend that lov'd her, / I should but teach him how to tell my story, / And that would woo her. / Upon this hint I spake." (I,iii,162-166). Obviously, this quote shows that Desdemona's main motive includes the acquisition of Othello as her husband which she achieves through her use of gentle words, passiveness, and apparent fascination in Othello's life which the male character of Othello finds as an attractive trait in the female character Desdemona."

Tags:Lodivico, Brabantio, Emilia

Abstract
This paper provides an analytical review of the novel "Good Night Desdemona (Good Morning Juliet)" by Ann-Marie MacDonald. In this paper, the central issue of fate in Shakespeare's Othello is also used in Goodnight Desdemona (Good morning Juliet), as Desdemona becomes the central character in MacDonald's interpretation of events from the original play. The paper concludes that Shakespeare has it fated that Iago will succeed in fooling Othello into killing his wife, since he has been gullible and mistrustful of Desdemona.

Tags:Shakespeare, Othello, wife, kill

Abstract
This paper discusses how, in William Shakespeare's "Othello", Desdemona, Bianca, and Emilia, the three main female individuals, are shown in different lights through the usage of both uplifting and demeaning descriptions. It looks at how Desdemona's humble and benevolent character is contrasted greatly against the harsh words used by Othello to describe her, how Emilia's outgoing and outspoken personality is revealed when speaking to both Desdemona and Iago and how Bianca's allegiance to Cassio differs significantly from her darker hypocritical side. It also analyzes how all three female characters reflect their personas through their actions, displaying their emotional outpourings, opinions on controversial issues, as well as their strengths and weaknesses.

From the Paper
"The main object of affection is Desdemona, the one woman who is known by all men as the wife of Othello. She is called by Othello "gentle" (I.I.28) as well as "gentle mistress" (I.3.205) by Brabantio. Cassio describes her as "a most exquisite lady" who is "most fresh and delicate creature" (2.3.20, 22-23). Desdemona displays her gentleness through her actions with her father and Othello. She attempts to be diplomatic and faithful to the people she most loves, especially when she is confronted by her father about Othello (I.3.208- 218). She is "bound" to her father "for life and education," showing how loyal and grateful she is towards to her father for raising her as a notable parent. Desdemona also believes that she should take the role that her mother once took by stating that she must upkeep the "duty" by "preferring you (Brabantio) before her father.""

Tags:Cassio, Iago

Abstract
This paper explains how Shakespeare uses the handkerchief given to Desdemona by Othello to symbolize the way in which Iago manipulates Othello's perception of women and, consequently, his relationship with Desdemona. More specifically, the paper charts the demise and the approach of Desdemona's murder through the handkerchief's sequential movement from virgin to wife to whore.

From the Paper
"Shakespeare infuses even the first appearance of the handkerchief with significance in that it emerges just as Othello begins to appreciate the sexual dimension of Desdemona. Iago has just proposed to Othello the possibility of Desdemona's infidelity when she offers it to Othello as a remedy for his headache, saying "it will be well" (Shakespeare 3.3. 286). Although Othello ultimately dismisses the idea, saying, "if she be false, heaven mocked itself!/ I'll not believe't" (3.3.277-8), Iago nonetheless lifts Desdemona's sexuality to a new level of consciousness. Furthermore, the manner in which Desdemona attempts to use the handkerchief defines it also as a symbol of her virtue. As new ideas stir in Othello's mind, Desdemona tries to press her handkerchief against his forehead. She figuratively smothers his thoughts of her infidelity with the symbol of her virtuousness. Shakespeare introduces the handkerchief through this precise encounter, because it marks the point at which Othello has just begun to contemplate Desdemona as a sexual being outside of their marriage."

Tags:carries, control, incarnation, virginal, purity, consummates, virgin, wedding, venice

Abstract
At the core, Desdemona's dedication to her husband, Othello, is as pure as that of Juliet to Romeo. Desdemona was not blessed with great intellect or passion. Hers was not a love like Juliet's which was forged in fire. (V.ii.323). In the process of destroying Othello, Iago's actions result in the deaths of Othello, Desdemona, Emilia (Iago's wife), Roderigo and the wounding of Cassio and of Iago himself. Perception indeed plays an enormous part in both plays, but perhaps no more so than in "Othello".

Abstract
The paper looks at the female figures Desdemona and Ophelia, who appear in two of Shakespeare's greatest tragedies, "Othello" and "Hamlet". The paper focuses not only on the women, but also on the men who have the strongest influences on them; their fathers and their lovers. The paper shows how despite different personalities and dissimilar sets of circumstances, the young heroines of these unique tales share much in common. The paper portrays how they both find themselves caught up in intricate love triangles that test their alliances to their fathers and their lovers and that ultimately end in tragedy.

Outline:
Abstract
Introduction
Desdemona, Othello, and Brabantio
Ophelia, Hamlet, and Polonius
Conclusion

From the Paper
"Although we never see Desdemona and her father Brabantio alone together, we can determine, from things they say to other characters and from things they say to one another in public, that their relationship has not been based on open communication and trust. In fact, there is an indication, as early as the opening scene, that despite his apparent shock, Brabantio may have subconsciously expected his daughter's elopement, or at least is not completely surprised by it: upon first hearing the news from Iago and Roderigo, Branbatio responds that "This accident is not unlike my dream" (I, i, 141)."

Tags:Brabantio, Polonius, Laertes, female, characters, tragedies, fathers, lovers

Abstract
This paper discusses Ann-Marie MacDonald's play, "Goodnight Desdemona (Good Morning Juliet)" and shows how MacDonald uses gender bending and variations on sexuality to challenge and ultimately undermine gender stereotype. In particular, the paper focuses on the character of Constance and how she rises to her full human potential in this play, and in so doing, undermines the gender stereotypes which often function to deny a fully rounded personality to people.

From the Paper
"In conclusion, what MacDonald seems to be saying in this play is that the choice made by Constance is open to all of us - and without alchemy. All that is needed is for us to probe into the powerful depths of our sub-conscious, and in this way choose powerful personal attributes that will enable us to rise to our full human potential. The crucial point is that women may choose supposedly male attributes such as courage, because the gender binary that says most personal attributes are gendered is culturally constituted and illusory. We can have it all, regardless of gender. Thus, MacDonald's play powerfully undermines gender stereotypes."

Tags:personality, masculine, passive

Abstract
This essay discusses how, in William Shakespeare's tragedy, "Othello", the characters of Iago, Desdemona, and Cassio shape the title character's actions.

From the Paper
"The character of Desdemona in Shakespeare's "Othello" is one of the most puzzling and challenging characters in the entire Shakespearean canon. This is so partly because of the curious dramatic fact that, unlike other Shakespearean heroes and heroines whose soliloquies give us entrance to many aspects of their personalities, Desdemona is "known" more by what others think about her than for what she says or does. For instance, her saintly virtue is referred to throughout the play (II.iii.23; III.i.34; IV.i.14 to cite but a few) by everyone except her father and Iago."