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Universi^ Micrwilms International Aoon.Zeeb Road Ann Arbor, Ml 48106 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. I f copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner o f a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. Universi^ Micrwilms International aoON.Zeeb Road Ann Arbor, Ml 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 8503298 Little, Nancy Glass THE IMAGISTIC FEAST: FEEDING IMAGERY IN SELECTED PLAYS OF SHAKESPEARE Middle Tennessee State University D.A. 1984 University Microfilms I nternstionsi300 N. Zeeb Road, Ann Arbor, M l48106 Copyright 1984 by Little, Nancy Glass All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE IMAGISTIC FEAST: FEEDING IMAGERY IN SELECTED PLAYS OF SHAKESPEARE Nancy Glass Little A dissertation presented to the Graduate Faculty of Middle Tennessee State University in partial fulfillment of the requirements for the degree Doctor of Arts December, 1984 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE IMAGISTIC FEAST: FEEDING IMAGERY IN SELECTED PLAYS OF SHAKESPEARE APPROVED : Graduate Committee: Mirt6r Professor Chairman of thé Department of English , Dean of the Graduate School Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©Copyright by Nancy Glass Little 1984 All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Abstract The Imagistic Feast: Feeding Imagery in Selected Plays of Shakespeare By Nancy Glass Little Shakespeare's virtuosity often manifests itself through finely honed imagery— a fact we11-documented by scholars. However, my study presents a sustained treatment of one image pattern— feeding imagery--that has received little critical notice. This study explores Shakespeare's comprehensive use of feeding imagery consist­ ing of several complementary imagistic strands : predatory imagery (including beasts of prey, sexual appetite, and malignant disease), garden imagery, earth-mother imagery, and cannibal imagery. In addition, we look at the symbolic significance of banquets eaten and not eaten. Through the pervasive use of feeding imagery, Shakespeare examines the nature of man and the world of which he is a part. The first chapter sets up the parameters of the study, explaining how eight plays are presented in pairs chosen to show feeding imagery linked to the theme of nurture and the human condition. In Chapter Two, Titus Andronicus and The Merchant of Venice illustrate the consistency of this image pattern in early tragedy and comedy, showing an array of Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Nancy Glass Little predators in the fictive worlds of Rome and Venice. Chapters Three and Four treat the tragedies of Shakespeare's greatest period: Hamlet and Othello show self-destructive appetite manifested in lust, disease, and poison while King Lear and Macbeth provide a context for discussing the effects of political hunger, with fruition achieved only at the expense of personal sterility. In Chapter Five, we examine how The Tempest, reversing the "feast-won, fast- lost" issue of Timon of Athens, provides a symbolic resolution to the literal feast. Together these last two plays make Shakespeare's most extensive statement on nurture, showing that physical sustenance is not the "bread" by which man ultimately lives. Chapter Six concludes that feeding imagery comprises an important thematic statement on the nature of man and the nurture required for spiritual fruition and that Shake­ speare's artistry progresses significantly from simple figurative language in the earlier plays to complex symbolism in the later works. Feeding imagery, I suggest, provides an important new imagistic perspective through which to view the selected plays and invites application to other plays of the canon. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I wish to acknowledge the life-long inspiration of Dr. Margaret W. Pepperdene, Professor of English at Agnes Scott College, who introduced me to Shakespeare's bountiful feast through her sensitive presentation of King Lear. Also, I express appreciation to Dr. John N. McDaniel and Dr. Ayne C. Durham, who have led me to a more mature understanding of Shakespeare's works. Finally, to my husband. Herb, v/ho has been incisive critic, insightful listener, and supportive friend, I express deep gratitude. 11 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Chapter Page I. INTRODUCTION ................................ 1 II. APPETITE AND INVERTED NURTURE: FEEDING IMAGERY IN TITUS ANDRONICUS AND THE MERCHANT OF VENICE .................................. 10 The Centrality of Lex Talionis .... 11 Man's Nature and Its Bearing on His Values As Conveyed in Feeding Imagery 22 The Paradoxical Natural World and Its Role As Conveyed in Feeding Imagery 34 The Ambiguous Ethical System in the Predatory World Clarified Through Feeding Imagery........ 50 III. LUST, DISEASE, AND POISON: SELF-DESTRUCTIVE APPETITE IN HAMLET AND OTHELLO .......... 56 Sexual Appetite As Devourer in Hamlet 57 Disease and Decay : Feeding "On the Pith of L i f e " .................... 66 Poison : "A Chalice for the Nonce" . 76 The Concept of Appetite in Othello . 82 The Transplanted Garden : Destruction of the "Pith of Life" Once Again . 98 Poison : False Nurturance Through the E a r .............................. 103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. IV. "SUPP'D FULL WITH HORRORS" OR WITH SUSTENANCE? AN IMAGISTIC PERSPECTIVE ON KING LEAR AND MACBETH..................................... 112 The Albanys and the Macbeths: "Milk of Human Kindness" and "Gall" . 113 Predators Natural and Unnatural ......... 127 The Banquet As Symbol................... 141 V. FROM FAMINE TO FEAST: NURTURE IN TIMON OF ATHENS AND THE T E M P E S T ..................... 154 "Feast-Won, Fast-Lost": Shakespeare's Sustained Imagery in Timon of Athens . 157 "Nurture" in The Tempest: Shakespeare's Ful 1-Course M e a l ..................... 175 VI. CONCLUSION............................. 189 BIBLIOGRAPHY ........................................ 194 IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. chapter One Introduction The banquet table is in readiness. The guests are gathered. Macbeth lifts his cup in a toast signifying concord and unity for Scotland under a new king. But the toast is interrupted by a murderer, blood still evident on his face. The new king cannot take his seat among the guests, for the stool reserved for Macbeth is auspiciously occupied— by the Ghost of Banquo, symbolizing his lineage securely planted on the throne. Lady Macbeth urges the guests to leave without regard for decorum. The banquet that began with pomp is aborted in chaos, the food never tasted. From this point on, Macbeth realizes that all his tomorrows are but tedious todays, a seemingly endless span of sleepless nights and bitter days during which he is excluded eternally from the community of man and the peace of self-integrity. In this pivotal scene, as in many others throughout the canon, William Shakespeare moves from literal event to figurative meaning. Over and over the playwright takes the
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