How does Shakespeare's presentation of Othello contradict Iago's and Roderigo's initial descriptions?

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Iago uses bestial imagery to inform Desdemona's father of the elopement, casting Othello as a sub-human devil:

Even now, now, very now, an old black ram
Is topping your white ewe. Arise, arise;
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you

And again:

have your daughter covered with a Barbary horse;
you'll have your nephews neigh to you; you'll have
coursers for cousins and gennets for germans.

And again:

I am one, sir, that comes to tell you your daughter
and the Moor are now making the beast with two backs.

Each of these calls to action allows Iago to plant an image in Brabantio's mind of Desdemona's contamination through her marriage to Othello. We have yet to see Othello, and Iago's language feeds into stereotypes the Elizabethan audience might hold regarding a Moor. Coming from Iago's own lower class language and personality, the news must strike the Senator as an affront in both speech and content.

Roderigo, a more genteel young Venetian, offers a contrasting interpretation of the same news, sparing the lasciviousness of Iago's descriptions:

your fair daughter,
At this odd-even and dull watch o' the night,
Transported, with no worse nor better guard
But with a knave of common hire, a gondolier,
To the gross clasps of a lascivious Moor--
If this be known to you and your allowance,
We then have done you bold and saucy wrongs;
But if you know not this, my manners tell me
We have your wrong rebuke. Do not believe
That, from the sense of all civility,
I thus would play and trifle with your reverence:
Your daughter, if you have not given her leave,
I say again, hath made a gross revolt;
Tying her duty, beauty, wit and fortunes
In an extravagant and wheeling stranger
Of here and every where

To Roderigo, the offense lies not only in the racial coupling but in the way in which Desdemona flouted the social norms of the upper class Venetian society, choosing to run off with a declasse mode of transportation, to an outsider with no claims on Venetian society, and in disregard of her duty and obedience to her father.

Iago offers a base and animalistic picture to outrage Brabantio's imagination; Roderigo offers a rude and non-Venetian one. Both offend Brabantio as a father and Senator.

When we finally see and hear Othello, we find him eloquent and elegant, bearing himself with as much or more control and dignity than the Venetians. He offers no resistance in his arrest, speaks rationally in his defense, and welcome's Desdemona's own testament of her free will. In these early speeches, he contradicts the prejudiced portrait Iago and Roderigo give and fill the imagination not of bestial images but of wonder and enchantment.

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