Model Full Script
Introduction
Throughout history, marriages have often contained a power imbalance in which men hold an unequal amount of power when compared to their wives. The issue is when husbands unfairly abuse this power, through verbal degradation, emotional manipulation, or physical violence. The global issue I will be exploring today is how power imbalances in marriages can have a damaging impact on women, a theme that remains globally relevant in discussions around gender roles, domestic abuse, and female autonomy.
To explore this issue, I will be examining Othello by William Shakespeare and A Doll’s House by Henrik Ibsen. While the texts differ in context and form, both authors portray patriarchal marriages where women are emotionally or physically dominated by their husbands. In Othello, Shakespeare highlights how jealousy and control manifest in verbal and ultimately fatal violence. Meanwhile, Ibsen focuses on the subtle but equally destructive emotional toll of constant infantilisation and suppression. Together, these texts critique the damaging effects of patriarchal control on women’s identities, safety, and autonomy.
Othello
The first extract I’ll be analysing is from Act 4, Scene 1 of Othello, in which the titular character, consumed by unfounded jealousy, physically strikes Desdemona in public. Shakespeare immediately establishes a power imbalance through the contrast in language. Desdemona addresses her husband with the respectful term “my lord,” whereas Othello responds by calling her a “Devil.” This juxtaposition of terms of address highlights the unequal dynamic: Desdemona must remain composed and submissive, while Othello is permitted to be cruel and accusatory. The insult “Devil,” with its religious connotations of evil, not only dehumanises Desdemona but signals how Othello believes he has moral and social authority over her.
Shakespeare further reveals Othello’s abuse of power through his commanding tone. When he tells Desdemona to “proceed in your tears,” he uses an imperative to exert emotional control. He isn’t asking about her feelings, he’s ordering them. This is reinforced by the verb “weep,” which connotes deep sadness. The effect is twofold: Othello dismisses her pain and also becomes the source of it, weaponising his power to inflict emotional harm.
This imbalance escalates in Act 5, Scene 2. As Desdemona begs for her life, she says, “Kill me tomorrow, let me live tonight.” This declarative plea reveals that she has already accepted Othello’s authority to determine whether she lives or dies. The contrast between the words “kill” and “live” draws attention to the extremity of the situation, as Desdemona no longer argues her innocence but simply negotiates her death. Her failure to stop him ultimately shows how her powerlessness within the marriage leads to fatal consequences.
Even before this climax, Shakespeare foreshadows Othello’s violence. In Act 3, Scene 3, Othello speaks of “my bloody thoughts, my violent pace.” The repetition of “my” reveals how deeply internalised these emotions are, while the visceral imagery of “bloody” and “violent” gives audiences a glimpse into his disturbed mindset. Shakespeare emphasizes that the danger Desdemona faces is not just emotional, it is physical, and it is imminent.
A Doll’s House
Moving now to Ibsen’s A Doll’s House, the selected extract from Act 3 reveals the deep-rooted emotional control Torvald exerts over Nora. The stage directions in this scene are significant. Phrases such as “holding her back” and Nora “trying to get free” reveal the physical power imbalance. While not outright violent like Othello, Torvald still uses his body to suppress her agency, reinforcing that Nora’s will has no place in their marriage. The verb “trying” implies she is unsuccessful, she is physically trapped and symbolically imprisoned.
This theme continues in Torvald’s possessive outburst: “Mine, all mine, mine alone.” The repetition of the possessive pronoun “mine” reveals how he sees Nora not as a partner, but as property. The phrase “all mine” is particularly oppressive, as it denies Nora any sense of autonomy. Ibsen uses this language to critique how patriarchal marriage reduces women to objects of possession, stripping away their independent identity.
This sense of dehumanisation begins early in the play, where Torvald calls Nora belittling names like “squanderbird” and “expensive pet.” These infantilising nicknames cast Nora as an object of amusement or indulgence, not as an equal adult. The noun “pet” is particularly demeaning, it implies ownership, obedience, and a lack of agency. Through these terms of address, Ibsen shows how Nora is not seen as a woman with thoughts and desires, but as a decorative companion meant to amuse and obey.
Later in the same extract, Torvald unleashes a list of insults, calling Nora a “wretched woman” and accusing her of having “no religion, no morality, no sense of duty.” This emotional outburst contrasts sharply with the affectionate tone he used earlier. Ibsen reveals how male affection in marriage is conditional on obedience, when Nora steps outside of her prescribed role, she is punished with cruel words. This exposes the fragile masculinity at the heart of Torvald’s control and the emotional cost it inflicts on women.
Finally, Nora’s line, “that’s how I’ve survived”, is quietly powerful. The verb “survived” implies that her marriage has been more of an ordeal than a life. It reveals the emotional toll of enduring years of control, belittlement, and emotional neglect. This short, declarative statement becomes an act of resistance: for the first time, Nora speaks not to please or obey, but to assert truth.
Conclusion
In conclusion, both Othello and A Doll’s House portray the damaging effects of power imbalances in marriage on women, through emotional manipulation, verbal degradation, and in Desdemona’s case, physical violence. While Othellofocuses on the dangerous consequences of male jealousy and control, culminating in death, A Doll’s House illustrates the quiet erosion of identity caused by emotional belittlement and possessiveness. Shakespeare and Ibsen offer complementary perspectives on this global issue, ultimately urging readers to recognise and challenge the patriarchal systems that continue to silence women in relationships.
These texts are not just historical critiques. In a world where domestic abuse and emotional control remain prevalent, their messages about the dangers of male dominance and the importance of female autonomy remain urgent and deeply relevant.
Preparing for Teacher Questions
Possible follow-up questions and responses:Example
- Q1: How does Shakespeare use narrative structure or dramatic form to emphasise Desdemona’s lack of power?
- Shakespeare structures Othello as a classical tragedy, where the downfall of the tragic hero also brings about the destruction of innocent characters, like Desdemona. By placing Desdemona's murder in Act 5, Scene 2, at the emotional climax of the play, Shakespeare emphasises that she is the ultimate victim of Othello’s psychological descent. Her death is inevitable in the structure of the play, which reflects how powerless she is to alter her fate. Additionally, Desdemona rarely speaks in extended monologues. Unlike Othello or Iago, she is often limited to short, deferential lines. This limited stage time and speech reinforces her marginalised role in both the narrative and her marriage, symbolising how patriarchy silences women even in death.
- Q2: Could Torvald’s behaviour be interpreted more sympathetically?
- While Torvald’s behaviour is undeniably controlling and belittling, some might argue that he is also a product of his time and social conditioning. He believes he is protecting Nora and acting out of love though in a patronising way. From this perspective, his possessive outburst “Mine, all mine, mine alone” could be read as desperate, a reaction to his worldview being shaken. However, Ibsen deliberately critiques this justification, showing that even well-intentioned control can be deeply harmful. Torvald’s love is conditional, based on Nora’s obedience. So while we might acknowledge his context, Ibsen ultimately asks us to side with Nora’s awakening, not excuse Torvald’s behaviour.
- Q3: Can you draw a modern parallel to this global issue?
- A strong modern example is the issue of coercive control in relationships, which is now recognised as a form of domestic abuse in many countries. Like Othello and Torvald, some partners use emotional manipulation, surveillance, or economic control rather than physical violence. For instance, a partner may monitor messages, restrict spending, or constantly question someone’s choices, often under the guise of “protection.” Just as Desdemona is silenced and Nora is infantilised, modern victims of coercive control often lose their sense of identity and autonomy. These plays, though written centuries ago, reflect ongoing patterns of psychological abuse that continue to affect women today.
Marking Criteria Breakdown with Annotations
Here’s a detailed breakdown of the marking criteria (A–D) with explanations of why this script meets the full marking criteria.
A: Knowledge & Interpretation: 10/10
- Why it scores full marks:
- Demonstrates a nuanced understanding of the global issue across both texts.
- Analysis goes beyond surface meaning to examine how power operates through language, symbolism, and dramatic structure.
- Consistently links ideas back to the global issue with depth and clarity.
- Example:
- “Mine, all mine, mine alone” → detailed unpacking of repetition and possessiveness.
