In Act 4, Scene 2 of Shakespeare's Othello, imagery and other stylistic devices are used in lines 48-74 to develop the lack of communication between Othello and Desdemona. This passage foreshadows the tragedy, as it illustrates that Othello no longer trusts his wife. It is clear that Iago's plan will succeed. Othello begins hyperbolically: “Heaven knows indeed that you are false as hell.” This also contains two antithetical terms: heaven and hell. Shakespeare uses adjectives to illustrate this: heaven is true and hell is false. This is a response to the previous line, spoken by Desdemona: "Heaven knows indeed [that she is honest]." Desdemona then naively says, "With whom?" He also asks "To whom...?" and “How…?”, but Othello would probably have chosen to listen to “With whom?” This is because he has no evidence of Desdemona's infidelity other than the testimony of Iago, who has begun manipulating her mind. After further expressions of Othello's stubbornness and Desdemona's naivety, Othello finally makes a short speech, beginning with a vivid allusion to the Bible. Othello compares himself metaphorically to a man who has fallen victim to a battle of wills between God and the devil. The devil thought that if God made man suffer, he would denounce God; but after being tormented by sickness and poverty, he still loved God. Vivid images are found in this passage: If it had pleased heaven to test me with affliction, if it had rained all kinds of plagues and shame upon my naked head , had immersed me in poverty up to my lips, given me and my greatest hopes into captivity, I would have found somewhere in my soulA drop of patience.Other metaphors and im......middle of paper..... .And. If you lost it, I lost it too. OTHELLO: If it had pleased heaven to test me with affliction, if they had rained sores and shames of every kind upon my naked head, had immersed me in poverty up to my lips, had given me captivity and my greatest hopes, I would have found somewhere in my soul a drop of patience. But alas, to make me (A) a fixed figure for the moment of contempt To point his slow (motionless) finger at - Yet I could bear that too, well, very well. But there where I have gathered my heart, Where either I must live or not give life, the fountain from which my current flows, or it dries up to be thrown thence, or kept as a cistern for disgusting toads, to knot and generate in turn there your complexion, patience, you young and rosy-lipped. Cherubino, yes, you look dark as hell.