Because Desdemona is no longer adhering to the cultural patriarchal norm that Iago so feverishly portrays, "[Desdemona] is dangerous, a form suspended between forms that threatens to smash distinctions" (6). The unabashed banter that occurs between Iago and Desdemona in this scene threatens Iago and the patriarchy, thus he feels the need to categorize all women into the same unit. .
Iago claims that all women are the same, that women deceive men because in public, they act as models of virtue, yet in the comfort of their own home they make noise like bells. That they act as animals in the kitchen, act as saints when they complain, and act as the devil once offended. That women slack off and play when it comes to their job of housework, yet act as if having sex with their husband is a job. All of his claims are common arguments against women that have been constructed throughout cultural history, and are still used today. Cohen writes, ""Monsters are never created ex nihilo but through a process of fragmentation and recombination in which elements are extracted 'from various forms' and then assembled as the monster" (11). All of these generalizations that Iago makes have been gathered through countless negative observations based off of the worst attributes and common misconceptions of women. Iago is simply stringing together a logic based upon a woman's attempt to defy her historical culture and to defy his own logic. Through these claims, Iago is further policing these social borders that have been erected and maintained by patriarchal white males and further makes Desdemona and all women into monsters through his act of victimization. .
After Iago's speech of suffrage, Desdemona inquires what he thinks of a woman like herself, and further asks of all types of women who are pretty, ugly, smart, or dumb-naturally Iago has nothing good to say about the opposite gender: .
