Copious images within the tragedy Othello In the tragic drama Othello by the Bard of Avon reside images of all types, sizes and shapes. Let's take a look at the playwright's offering in this area. In the essay "Wit and Witchcraft: an Approach to Othello" Robert B. Heilman discusses the meaning of the images within this work: The reiterative language is particularly prone to acquire a continuity of its own and become “an independent part of the plot” of which we can try to evaluate the effects. It can create a “mood” or “atmosphere”: the pervasiveness of the images of wounds, pain and torture in Othello has a very strong impact that is not entirely determined by those who use the images. But above all the “image system” introduces thoughts, ideas, themes – elements of meaning which is the author's final organization of all his materials. (333)The vulgar imagery of the ancients dominates the opening of the work. Francis Ferguson in “Two Worldviews Echo Each Other” describes the types of imagery used by the antagonist when he “puts aside the mask” as he awakens Brabantio:Iago is releasing the evil passion within him, as he does from time to time while playing, when you take off the mask. In these moments he always resorts to these images of bags of money, betrayal, lust and animal violence. Thus he expresses his unfaithful and envious spirit and, equally, his vision of the populous city of Venice – Iago's “world”, as it has been called. . . .(132)Standing outside the senator's house late at night, Iago uses images within a lie to wake the occupant: “Wake up! what, oh, Brabantio! thieves! thieves! thieves! / Look at your house, your daughter and your bags!” When the senator looks out the window, the ancient continues with gross images of animal lust: "Even now, now, right now, an old black ram / is riding your white sheep," and "you will make your daughter cover with a Horse barbaresque; you will have your nephews by your side; you will have corsers for cousins ​​and gennets for Germans, judging from Iago's language, he rightly concludes that the latter is a "profane wretch" and a "villain". resorts to violence in his description of the senator, saying that “nine or ten times / I thought I had him here under the ribs.