or The importance of being Desdemona
It’s a long time I have in mind to work on this character, since I got once confronted with the topic of uxoricide and with some of its examples in literature. And keeping the Bard in mind, I would say that I actually consider Juliet and Ophelia victims of uxoricide, too. Even if in different ways, both are indirectly lead to death by a male decision-making power just walking over them for their political purposes.
But now, because I like to find a way to see things not only as black or as white, exactly about these two colours comes the point. Desdemona is in a way standing out over Juliet and Ophelia not only because of the “exemplarity” of the crime in this drama (it even exists an “Othello syndrome” in psychology). Desdemona is so peculiar because she’s at the same time the greatest spokewoman for interracial marriage in Renaissance literature, so there’s at least a positive aspect in her drama, too. Even if the marriage doesn’t end very well. But there you have to ask Jago for more information.
Third paragraph, third point, which is obvious: Desdemona as a fictional character is luckily able to live again up to the infinite future, so always reminding us about the first two points. It is for this reason that I choose for this painting a “subjective camera”, i.e. the point of view of the actress on her own hand lying on a bed, leaving free choice to the observer to decide if this hand lies there abandoned after the murder or after a love scene.