As Othello develops, Shakespeare presents us with a dichotomous relationship between Othello and his wife. Initially, Othello is established as an ideal husband, conveyed through his treatment of Desdemona early in Act 1, where he exhibits a proto-feminist stance by backing her in front of the most powerful man in Venice. This is reflected in his flowing, verbose dialogue with fantastical imagery, in contrast with Brabantio's outbursts. Here, Othello is presented as being in perfect symmetry with his wife; they talk highly of one another, and Othello treats his wife with courtesy and respect, often confessing his love.
However, as the play continues the dichotomy is introduced as Othello struggles over his potential cuckoldry, and eventually his masculine solidarity for Iago overcomes his romantic attachment for Desdemona. This breakdown in the relationship is reflected by Othello's broken, vehement speech and tone, especially noticeable during his monotonic repetition of 'the handkerchief' and apparent seizure, representing his two perceptions of Desdemona-his innocent wife and the adulterer-come into conflict. Here is also when the dichotomy between Othello's noble side and his male pride also conflict; the final proof is the handkerchief, which sends him over the edge. Yet the handkerchief metaphorically conveys the inherent flimsiness of Othello's proof; although the dramatic irony is not lost on the reader, Othello's male pride blinds him to the truth. This male pride is what marks him as a bad husband, it is why he strikes Desdemona and murders her. In this light, Othello is not a good husband, so deeply deceived by Iago; he has always been a bad husband, whose negative and controlling aspects are coming to the forefront at the slightest doubt.