A Brief Look at Desdemona in 'Othello'


If we accept momentarily that there is a female companion archetype in fiction, as outlined in How Stories Really Work, then it’s worth looking at Desdemona in Shakespeare’s Othello in its light. Whether we examine E. M. Forster’s Adela Quested and Mrs. Moore in A Passage to India, or Elizabeth Bennett in Austen’s Pride and Prejudice, or Jane in Charlotte Bronte’s Jane Eyre, or Cathy in her sister’s Wuthering Heights, or Lady Macbeth, or Ophelia, or Miss Havisham in Dickens’ Great Expectations, female companion figures are often represented as needing fulfilment (usually through marriage) and, at worst, as hollow, haunted phantoms.

The transformation of Desdemona into such a hollow figure lies at the heart of Othello’s tragedy alongside Othello’s own flaw. Iago seeks to destroy her physically and emotionally: what we see unfold during the play is Iago creating this dark and hollow archetype in Othello’s mind. From Act I Scene III, Iago begins to paint a picture:

After some time, to abuse Othello’s ear

That he [Cassio] is too familiar with his wife.

Othello’s tragedy is that he buys into this falsity:

Even so my bloody thoughts with violent pace

Shall ne’er look back, ne’er ebb to humble love,

Till that a capable and wide revenge

Swallow them up.