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TIME IMAGERY H SHAKESPEARE's PLAYS and POEMS by Arthur T. Grant a Thesis Submitted to the Faculty of the Department of English I

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TIME IMAGERY H SHAKESPEARE's PLAYS and POEMS by Arthur T. Grant a Thesis Submitted to the Faculty of the Department of English I Time imagery in Shakespeare's plays and poems Item Type text; Thesis-Reproduction (electronic) Authors Grant, Arthur T. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 12:08:25 Link to Item http://hdl.handle.net/10150/566674 TIME IMAGERY H SHAKESPEARE'S PLAYS AND POEMS by Arthur T. Grant A Thesis submitted to the faculty of the Department of English in partial fulfillment of the requirements for the degree of MASTER OF ARTS in the Graduate College, University of Arizona 1952 Director of Thesis ( 9 7 9 / ' A 8- ■ TABLE OF COITEM'S m p f i R PAOE i. 33^DE©BTJCHOE , , , , , @ a , o o , , , & , , , , o @ , » * © I Fl23?POS© of0 "feL,© 000000ijL©SlS000:0 0 0 000I 0 , 0000B©T IL3sl3»^ 3.0IX Of 0t©3nH8 0000 0,00 0I 0 0 000 Advantages of the study , o « , , , o , , , © . = « . « o 1 gamzat ion © , ,. , ,. ,■ , o , o , © o o , , , o , o , 2 H o A REVIEW OF m m TREM3S H HiAGERY STUDY i 3 ly stfGd.3—es , , , , , , , o o o © o , , © © © © © o © © 3 The xntrosfective approach © © © © © © . © © © . © © © o 5 The Organic approach © © © © © © © © © © © © © » © © © ©, 9 The substantiation method © © , © © , © © © , © © © © © © 9 Summary © & © © © © © © © © © © © o © © © © © © © © o © © H , HI, A TMS AlID I#IP HOD S © © o © © © © © , © © © © © © © © © © © © © 12 Mature of the investigation . © © © © © © © © © © © © . © 12 Advantages of the investigation , , , © , © © © © © © © © 12 Disadvantages of the investigation © © © © © © © © © © © 14 Befinition of an image © © © © © © © © © © © , © © © © » 1% Method of gathering images , © © . © © © © . , © © © . © 15 Inslusion of non*, images © © © © © © © © © © © © .© © © © © l6 leeessity of employing imagery © © © © . © © © © © © © , 1 6 Limitations on the meaning of time © © © © © © © © © © © 17 The final test of the gathering method © © © © © © © © © 19 ^Ghe text © © © © © © © © © © © © © © © © © © © © © © © © 19 Experimental nature of the thesis © , , © © ©.„©©© ©19 ill mGE If* TEE OP 3KL]3SAI%Eg5IAJ: TIME eOWOEPTS * * * . * * , 2 0 Eamifold possibilities inherent In time concepts <> » o « 20 The nature of classical time deities * * 0 0 0 * 0 0 0 * 21 The fusing of vegetation with classical deities * * * * » 23 The merging of medieval characterizations of time with classical and ancient » & ® » * * & * * * * * 00 © © 25 The reinterpretation of classical mythology in the lemaissamee * * <> * * * * * * » * <?- * » * * * * * * * 2^ Summary © * * * * * * * * * * * * * © * * * * * * ©• © 31 THE DIAL HATIB1 ©F SHMESPEARE?S T3HE C01CEHS 32 Destructive roles of Time * * » © * © © © © » © © * * * © 33 Tyrant © © ©• © * © © ©■ * * © * * © * * © * * * © * © © 33 Oppressor © © © © © © © © © © © © © © © © © © © © © © © 3^ Deeayer © © © © © © © © © © © © © © © © © © © © © © © © 3^ iDecei'ver © © © © • © © » © © © © © © © © © © © © © © © © 3^ Thief 000 © © © © © o © © © © © © © © © © © © © © © © ^i*l Pi Igr n.m © © © © © © © © © © © © © © © © © © © © © © © © ^f,2 Sexton 1 © 0 0 o © ©. © © © © © © © © © © © © © © © © © © 4-3 Minor roles * © © © © © © © © © © © © © © © © © © © © © ^3 Things destroyed by time © © © © © © © © © © © © © © © © © kk Deauty © © © © © © © © © © © © © © © © © © © © © © © © Love © © © » © » © © » o © © © © © © © © © © © o© © © Honor and fame © © © © © © © © © © © © © © © © © © © © ^1*6 Truth © © © © © © © © © © © © © © © © © © © © © © © © © The written word © © © © © © © © © © © © © © © © © © © 48 Beneficial Roles of Time © © © © © © © © © © © © © © © © 49 Bevealer © © © © © © © © © © © © © © © © © © © © © © © 49 C E A H a m o m V, (eontlmueS.) 003^2^00^OX* ^ a o o . e o o a a o » o » o c o o o a o <t © ^0 E 0^8rXS.@ X <3 ©. » © © © b © d © o o a d o © d o © © © © © E%^)0B0X » © a o © o o © » a o © © © © © © » » » © © © © 5*^" ^ 0&0^L0X © o © o © o « » © © o o © o » © © © o o » o © » 53 ?0Xf0©"t#OX © o © © o o © d o o © o d d o' odd© o o a © 55 © © © d o ©d o © o o © © o ©d © © d ©■ e © © d 5^ MElBOX XO3»0S o d o ® © © © d © © © o © © © © © d © d © © ^ fkings kenefitet ky time © © ©^ © © © © © © © © © © © © © 57 LOVe d d d © odd© © © © d d © © o O © © O © © © © © 57 Se^nty © © © ^ © © © © © © © © © © © © © © © © © © © © 5^ konor - © © © © © © © © © © © © © © © © © -© © © 5^ OZxntk © © © © © © © © © © © © © © © © © © © © © © © © © 60 Stmmie^xy © © © © ©. © © © © © © © © © © © © © © © © © © © © 60 VI© m S G E L M B m W S mOLES OF T i m © © © o © o © © © © © © o © o © 62 Special roles of time © © © © © © © © © © © © © © © © © © 62 Time as Opportunity © © © © © © © © © © © © © © © © © © 62 Trm.e as Fortx^ie © © © © © © © © © © © © © © © © © © © © 66 Special characteristics of Time © © © ©©.©©©©©©© © 69 ,• Trme ^ s gait © © © © © © © © © © © © © © © © © © © © © © 69 Timers icings © © © © © © © © © © © © © © © © © © © © © 7^~ Tim.e chests © ©■ © © © © © © © © ©• © © © © © © © © © © 73 Imagery resulting from Timersfumetioms © © © © © © © © © 73 The eternizing theme © © © © © © © © © ©©»©©©.© © ' j k Old age © © © o© © © © 00 a © © © © © © © © © © © © © 77 CEAEEEE PAGE VI. (continued) Images associated with time imagery « . o . 80 Mirror imagery o © . © » © . © © © © © © © © © © © © © 80 Clock imagery © © © © © © © © © © © © © © © © © © © © © 8l fime and order ©©©©©©© ©©©©© ©©©©©©©© 82 VII. COriCLUS 10H © © © © © © © © © © © © © © © © © © © © © © © © 85 a pphii\ii)"ry © © © © - © © © © © © © © '© © © © © © © © © o © © © 88 13 f 'HLIQCifciAPJil © © © © © © © © © © © © © © © © © © © © © © © 105 LISf OF ABBREVIATIONS She feUowlag ahhrevlatiene of Shakespeare #a plays aasi. poems are those recommended hy the Modern Language Association in She M L A Style Sheet. All*s Well That Ends Well All8s W. Antony and Cleopatra Antony As You. Like It A.Y.L. The' Comedy of Errors Errors CoriolanuB Cor. Gymbeliae Cymb. Hamlet. Prince of Denmark Ham. I Henry H I E.IV II Henry IV II H . H Henry V E.V I Hemy vi 11.vi H Henry VI II H.VI III Henry VI in E.VI Julius Caesar Caesar King Henry VIII S.Till King John John King Lear Lear Love's Labour': s Lost I«»L.L. Macbeth Macb. Measure for Measure Meas. vii The Merry Wives ©f Windsor Wives A Midsummer Wight *s Bream Bream: Much Ado About nothing Mmeh Othello, the Moor of Venice oth. Pefieles Per. Eiehard II 5.II Eiehard III ' E.III Borneo and Juliet Romeo The Taming of the Shrew Shrew Timom of Athens Tim. Titus Andronieus Tit. Troilus and CressIda Troi. Twelfth Eight; ors What You Will Twel. The Two Gentlemen of Verona T.G.V. The Wlnter^s Tale W. T. The Rape of luerece Lucr. Sonnets Son. Venus and Adonis Venus i z m o D u m o i Evea a cursory reading of Shakepeare8 s plays and. poems reveals that a great deal ©f imagery is devoted to describing the characteristics aad ftmetions of time* It is further evident that these functions aad eharae= teristics are so diverse aad maaifold that a consistent picture ©f time is difficult to obtain, The purpose of this thesis is to investigate thoroughly the imagery dealing with the concept of time and attempt to trace a consistent treatment of it in the plays and poems. By Shakespeare8s plays and poems are meant all the plays and poems considered by the majority of scholars to make up the corpus of his"'%mrk, A complete list of the included works will be found in the table'Of' ab= breviations. The term imagery will be employed throughout this paper in a very broad sense, denoting the picture arising from the author8 s words rather than the particular figure of speech employed, A more complete discus­ sion of this term will be included in chapter three. While many investigations of Shakespeare8s imagery have been made, hone undertakes to examine thoroughly those images Sealing with one con­ cept, It is felt that such an investigation will not only repeal "vital information about Shakespeare8 s imagery but will also be effective in the interpretation of certain passages in the plays, " Because the usefulness of the present approach will be more ap­ parent after a review of major trends in imagery study has been presented. 2 a more detailed account will be offered in chapter three„ This thesis is organized according to what is believed to be the clearest method of presenting the information collected on the imagery of Shakespeare *s concepts of time. Whenever possible a chronological investigation of the image or concept will be followed. That is, if a source for the image is known, it will be given prior to a discussion of Shakespeare’s use. In this way it is felt that Shakespeare’s con­ tributions and changes will be more clearly discernible. The second chapter reviews previous imagery studies; their values and shortcomings are outlined. Chapter three presents the aims and methods of this thesis. Chapter four is a history of the evolution of Elizabethan time concepts; it is felt that an understanding of these clarifies, in many respects, Shakespeare’s handling of time. Chapter five introduces a detailed study of Shakespeare6s images of time, dealing particularly with those images showing destructive and beneficial capacities. In chapter six miscellaneous imagery related to time will be assembled, and chapter seven will present the conclusions ©f the study. A table of abbreviations and a table of illustrations have been included for convenience of discus­ sion. c m p r m n A EETIEW ©F m.IN TREHDS H IM4GERY STUDY Normally
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