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first sees Othello, not in the flesh, but in the imagination. We are presented with a powerful image created

by Iago: of a creature untamed an uncivilised, driven only by base instinct. The man that appears on

stage in the second scene is no such creature. His speech to the senate paints a very different picture.

It is not one of your average Venetian. It is exotic and strange but it is presented with eloquence and

a noble authority that outstrips the civilised company that is present. At the end, Othello reverts to the

rhetoric that he used in front of the senate. Again, the imagery is most powerful. He talks of pearls,

of Arabian trees. The same sort imagery that he used to woo Desdemona, he uses to conclude the

tragedy.

Iago?s use of imagery is the basis for his power. At the outset, he deceives the audience with the image

he paints of Othello. He uses simple images, of fires in populous cities, of gardens and gardeners, for

the simple-minded Roderigo. His deception of Othello needs to be very much more subtle. Here too,

though, his tool is imagery. The proof that he presents is imaginary. Othello?s passion is aroused by

the images that Iago?s words conjure up ? of Cassio and Desdemona lying together. The handkerchief

becomes a symbol for this imaginary infidelity. Othello sees Desdemona, white-skinned and beautiful,

the very image of purity and is torn apart by the images that have poisoned his mind.

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