refusal of her infidelity is to assure him that, 'I know our country's disposition well' [3.3.204] reminding him of his nature as an outsider, and as such, of a lesser authority to know the ways of Venetian women, and indeed, women in general, playing on his insecurities at his lack of experience in relations with the opposite sex. He is forced to trust Iago to explain the world to him. 'And yet how nature, erring from itself - ' [3.3.231] is the crucial point at which we see Othello crack - he has linked Desdemona's rejection of the 'curled darlings' [1.2.68] or 'natural' choices for husbands with the existence of something innately unnatural and suspect in her character. At line 267, he makes a rare reference to his blackness in a negative way, and begins to compare himself to Cassio, who is fair, eloquent, and courtly, and reveals his insecurity over his age too. However, when he sees her, he refuses to believe Iago, but as we see, the damage has been done, and he returns to Iago to demand 'ocular proof.' [3.3.363] Othello is then deceived very easily by a thin and insubstantial illusion, after which, he vows to kill her, without confronting her once. The ease with which Iago was able to achieve this feat is frightening, and rests wholly on a simple optical trick and his ability to play on Othello's insecurities, a large part of which is his race, and disbelief at Desdemona's love. We must not forget to look at the behaviour of Desdemona in order to witness the cultural taboo in action. Desdemona is portrayed as a divine figure, but extremely naive. Her naivety is illustrated in her conversations with her husband. She does not know that Othello is the object of Iago's manipulation, nor does she understand the implications of her speech. In Act 1, Iago states that, IAGO: It cannot be thatDesdemona should long continue her love to theMoor. Othello 1.3.342-344 He echoes Coleridge's concern that her love of Othello 'would argue a dispro...
