In Shakespeare's Othello, the marriage of Othello and Desdemona was doomed from the start. They didn't start well; their marriage was controversial due to their race and Othello's failure to follow proper etiquette when courting her. However, these issues could have been resolved with time. The biggest problem is Othello's attitude towards Desdemona. Othello's model of Desdemona prevents him from seeing her as a person. Rather, he considers her superior to himself in every way, to the point that she is a god. Her race, beauty, and status make her pious in her mind. She becomes untouchable in Othello's mind and he begins to distance himself from her. Because Othello considers Desdemona “Alabaster” (5.2.5), he will never consider her capable of reciprocating his love. Because Othello is at his wits’ end when he calls him “Alabaster,” he speaks from his heart. . When Othello receives a letter from Venice informing him that he must return home and leave Casio in charge of Cyprus, he is very furious. As a result, he loses his mind and begins to speak less coherently. Take the phrase “Pish!” Nose, ears and lips. Isn't that possible? Confess! Handkerchief! Oh devil! » (4.1.42) contains none of Othello's old eloquence. He begins to speak with word associations rather than complete sentences. The word “confess!” » brings up the words “Handkerchief!” » and “Devil! ". Because Desdemona, the handkerchief, and the feeling of wickedness were so present in his mind, he begins to express with abstract words and ideas instead of sentences. Although this makes his lines harder to read, they show us what he is constantly thinking about. Instead of clear, concise lines, they are a torrent of his true feelings. Middle of paper...... Due to his high opinion of her, he creates a complex of his own insignificance. From his point of view, Desdemona is incapable of loving him because she is too elemental to have emotions. Othello has, to put it simply, wrapped Desdemona in alabaster. He has formed an opinion of her from which she cannot free herself. Because he has her so tightly locked into this state of mind that he is incapable of thinking about himself in any other way. She is so high on the pedestal he puts her on that he is unable to see who she really is. This is Othello's failure. By making it too powerful, too divine, any minor flaw is a glaring flaw in its pristine surface. Then at the first fault, she becomes weak and nothing, and he must restore her to her former glory. He must “extinguish you… [and] once again restores the light of old” (5.2.9). He cannot see his love through its alabaster covering.