Published online by Cambridge University Press: 05 January 2009
A phrase of Mr. Middleton Murry in his chapter on the imagery of Shakespeare suggests some interesting possibilities of literary speculation. Noting the odd association of dogs and sweetmeats in four widely separated tragedies Murry remarks: ‘What is to be noted is that the image, having its roots in some vital experience, grows steadily more complex.…’ He goes on to suggest that the origin of a notion so obsessive lay in some unpleasant memory of Sir Thomas Lucy's hall.
page 205 note 1 Murry, J. Middleton, Shakespeare (London, 1954 ed.), 290–1 (italics mine).Google Scholar
page 206 note 2 B.C. iii. 28.4, tirones … salo nauseaque confecti … se Otacilio dediderunt.
page 206 note 3 Acts xxvii; cf. 33, τεσσαρεσκαιδεκάτην σήμερον ἡμέραν προσδοκῶντες ἄσιτοι διατελεῖτε, μηδὲν προσλσβόμενοι.
page 206 note 5 He was with Brutus at Klazomenai (Sat. i. 7).
page 207 note 2 Note the violence of the language throughout i. 13 and in i. 25. 13–16.
page 207 note 3 Cf. Ep. i. 20. 24Google Scholar, corporis esigui, praecanum …; Odes ii. 11. 15Google Scholar, canos odorati capillos …; iii. 14. 25, lenit albescens animos capillus. (Odes ii. II cannot be precisely dated, but is likely to have been written before Horace was forty years of age; iii. 14 can be dated at 24 B.c.) Note also ii. 20. 10–11, album mutor in alitem | superne, where the image of the swan seems to be suggested by the whitening hair.
page 208 note 2 See, for example, Satires i. 2, and some of the Epodes.
page 208 note 6 A ‘symbol’ is an image less fully developed, and influencing more subtly than metaphor and direct imagery the unfolding of the theme.
page 208 note 7 Wilkinson compares consociare amant (ii. 3. 10) for such ‘nature symbolism’.