Campus Access Only

All rights reserved. This publication is intended for use solely by faculty, students, and staff of University of the Pacific. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, now known or later developed, including but not limited to photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the author or the publisher.

Date of Award


Document Type


Degree Name

Master of Arts (M.A.)




The modern scholar attempting any detailed analysis of imagery in the poetry of Shakespeare may well proceed with caution. The lack of a clear and definite statement of terms, the unwillingness to come first to grips with the problem of definition before proceeding with that of analysis may produce pitfalls for the unwary; and although modern studies - especially those of Miss Caroline Spurgeon and her followers - have cast much light upon Shakespeare’s use of imagery, they do not altogether escape the charge of carelessness.

Much work remains to be donel and the need for a reconsideration of the work already accomplished, together with a careful re-analysis of the function of imagery in the text of Shakespeare itself, is unquestionable. Herein, then, we have the purpose as well as the justification of the present study. The method of the study will involve: (A) the careful counting and listing of all the images in a mature Shakespearean tragedy; and, (B) the classification of these images according to what appears to be their technical function in the drama itself.