As Oroonoko and Imoinda struggle to affirm their love for one another in the face of the king's jealousy, stolen glances become a needed mode of communication. Consequently, eyes and eye contact take on particular significance as a motif in Oroonoko. The first instance of this occurs soon after Imoinda receives the veil, and Oroonoko returns from hunting:
But as soon as the king was busied in looking on some fine thing of Imoinda's making, she had time to tell the prince with her angry, but love-darting eyes, that she resented his coldness, and bemoaned her own miserable captivity. Nor were his eyes silent, but answered hers again, as much as eyes could do, instructed by the most tender, and most passionate heart that ever loved.
Soon after, Oroonoko and Aboan attend the king to the otan, where several of the king's consorts (including Imoinda) are made to dance:
The prince was laid on another carpet, at the other end of the room, with his eyes fixed on the object of his soul; and as she turned, or moved, so did they; and she alone gave his eyes and soul their motions. Nor did Imoinda employ her eyes to any other use, than in beholding with infinite pleasure the joy she produced in those of the prince.
In both of the above passages, eyes are not only the primary means of communication between Imoinda and Oroonoko, but further serve as a representation of the couple's loyalty and allegiance to one another. Communication via the eyes evolves into a motif representing the purity of their respective souls and the connection they share, as the two are able to communicate perfectly without ever utilizing the spoken word.
