Ẩn dụ ý niệm trong “as you like it” của william shakespeare

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POSTGRADUATE STUDIES o0o TRẦN NGỌC ANH CONCEPTUAL METAPHORS IN “AS YOU LIKE IT” BY WILLIAM SHAKESPEARE (Ẩn dụ ý niệm “As You Like It” William Shakespeare) M.A MINOR PROGRAMME THESIS Field: English Linguistics Code: 8220201.01 Hanoi - 2021 VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POSTGRADUATE STUDIES o0o TRẦN NGỌC ANH CONCEPTUAL METAPHORS IN “AS YOU LIKE IT” BY WILLIAM SHAKESPEARE (Ẩn dụ ý niệm “As You Like It” William Shakespeare) M.A MINOR PROGRAMME THESIS Field: English Linguistics Code: 8220201.01 Supervisor: Huỳnh Anh Tuấn, Ph.D Hanoi - 2021 DECLARATION Except where reference has been made in the text, this thesis contains no material previously published or written by another person I, Tran Ngoc Anh, hereby state that this M.A thesis is the result of my own research and the substance of the thesis has not, wholly or in part, been submitted for any degrees to any other institutions Hanoi, … / … / ……… i ACKNOWLEDGMENTS For the accomplishment of this study, I have been lucky to receive help and support from many people First of all, I would like to express my deepest gratitude to Huỳnh Anh Tuấn, Ph.D., my supervisor, who provided me with inspiration, ideas, and materials My great thankfulness is also given to the teachers of the Foreign Language University of Hanoi National University for my M.A thesis Finally, my warmest thanks are due to my family for their support and spiritual encouragement in the process of study Hanoi, … / … / ……… ii ABSTRACT Conceptual metaphors in pastoral comedies are a unique topic to study The study attempts to find out the conceptual metaphors in ―As You Like It‖ by William Shakespeare The theory of conceptual metaphor suggested by Lakoff and Johnson (1980/2003) and Kovecses (2002) is adopted as the analytical framework in this study This thesis uses the qualitative method mostly to choose the data for conceptual metaphors are to clarify the types in ―As You Like It‖ There are 76 conceptual metaphors are identified and classified in the present study The most popular source domains are an object, a journey, a natural-nature, an animal, a human, a man, a rope, a person, a treatment, time, temperature, water, a drink, money etc The target domains are love, insolence, spirit, education, freedom, death, smart, the brain, information, the story, the voice, peace and sweetness, sadness etc Of these target domains, love is the most common target domain The results show that love can be conceptualized as a weapon, a treatment/ insolence is a disease, an object…etc In addition, there are many expressions (fire/ time/ sadness/ water…etc) conceptualized as (passion/ a journey/an object/ a human/ a man/ a person/ containers etc).The linguistic extremes produce very diverse conceptual metaphors depending on the large shape of the source domain and target domain iii TABLE OF CONTENTS DECLARATION i ACKNOWLEDGMENTS ii ABSTRACT iii LIST OF TABLES vi CHAPTER 1: INTRODUCTION 1.1 Rationale 1.2 Aims and Objectives .2 1.3 Research questions 1.4 The scope of the study 1.5 The significance of the study CHAPTER 2: LITERATURE REVIEW 2.1 Cognitive Linguistics 2.1.1 The concepts of Cognitive Linguistics 2.2 Related research 2.2.1 A general review 2.2.2 The typically related works in English 2.2.3 The typically related works in Vietnamese 2.3 Metaphor and Conceptual metaphor .10 2.3.1 Metaphor Theory 10 2.3.2 Conceptual metaphor Theory 12 2.3.3 Classifications of Conceptual Metaphors 15 2.4 An introduction to William Shakespeare 20 2.5 Summary 21 CHAPTER 3: RESEARCH METHODOLOGY 23 3.1 Research approach 23 3.1.1 Descriptive method 23 3.1.2 Analytic and synthetic methods 23 iv 3.1.3 Qualitative and quantitative methods 24 3.1.4 Deductive and inductive methods .24 3.2 Research procedures 24 3.3 Data collection 29 3.4 Data analytical framework .31 3.5 Summary .31 CHAPTER 4: DATA ANALYSIS 33 4.1 Conceptual Metaphors in As You Like It with Source domains 34 4.2 The conceptual metaphors are linguistically represented in the comedy .41 4.3 A brief comment on Shakespeare's contribution of conceptual metaphors to the success of this comedy 54 4.4 Summary .55 CHAPTER 5: CONCLUSION 56 Recapitulation 56 Implications of the study 59 Limitations of the study 60 Suggestions for further research 60 REFERENCES 61 APPENDICES I APPENDIX I APPENDIX IV APPENDIX VIII v LIST OF TABLES Table 4.1: A summary of conceptual metaphors in As You Like It 33 vi CHAPTER 1: INTRODUCTION In chapter I, the rationale, aims, and objectives; research questions; the scope of the study, the significance of the study, and structure of the study are presented 1.1 Rationale Nowadays, English becomes the most popular and universal language to be used in different countries Because they said that English is easy for people to learn, it is also proper flexible, has a concern with numerous languages and you can say an affair by about hundred ways, although in each country English is different Furthermore, change is often going with the trend of developing global language in the world As the result, they learn and use English everywhere in the world such as in business, film, etc Metaphor is an infinite enjoyable phenomenon of linguistic, in particular: literature and poetry, where metaphor is to be used as an indispensable tool, so it is not astonished at figurative language are regarded as literature and poetry language However, it is extensible, universally, and automatically used in social life today Together with developing a change of English, the metaphor also tends to profoundly Not only it is compared, transfer (which is transferred unknown thing into the known thing) but also it is regarded as the mode of thought helping humanity to have cognition about the world by the way, which moves the concept of a morpheme domain to another, it is so-called: conceptual metaphor Shakespeare was a success in playwriting Like other playwrights, to convey emotions and meaningful messages into plays, Shakespeare makes viewers perceive his emotions differently: each audience has a different emotion when watches the same play using many conceptual metaphors in his work For all these reasons, the writer of this thesis hopes to find out the conceptual metaphors to be used in Shakespeare's pastoral comedy to help the audiences and English learners can firstly understand, then they can comprehend the abstract meaning in that Thereby, we can understand more about English thought, language, mind in common and Shakespeare in particular Besides, to some extent, we can see how is conceptual metaphors used flexibly so that we can apply this learning and using the English language in life? It may be not bored if an English learner would like to study English by pastoral comedy 1.2 Aims and Objectives The study is intended to fulfill the following objectives: - To find out conceptual metaphors in the pastoral comedy As You Like It - To clarify the conceptual metaphors - To analyze how the conceptual metaphors are linguistically represented in the comedy 1.3 Research questions To achieve the objectives of the study the following research questions should be answered: - What conceptual metaphors are generated in the comedy As You Like It? - How are the conceptual metaphors linguistically represented in the comedy? 1.4 The scope of the study Metaphor in cognitive linguistic is regarded as new in recent But it is studied by multiple researchers from various perspectives Because of a large studying scope to be researched by researchers in the past, so this thesis concentrates on the conceptual metaphor of cognition which grew out of George Lakoff & Mark Johnson‘s theory in the points of Metaphors We Live By (1980/ 2003) and Kovecses (2002) in Metaphor A Practical Introduction Basically, the view of the conceptual metaphor written by them having the same idea, so studies all of the authors made me have more examples and knowledge of the conceptual metaphor of As You Like It The scope of the research is mainly viewed on three kinds of conceptual metaphors in Shakespeare's pastoral comedy These kinds of conceptual metaphors are Structural Metaphors, Ontological Metaphors, Orientation Metaphors Shakespeare has numerous plays and comedy is the main theme of his works But in this research is only limited to 76 expressions of conceptual metaphors that are and socio-physical experience It helps us understand the more abstract concept by the more concrete one Therefore, this approach has become more and more common in the development of teaching and learning languages The metaphor has often been regarded as a special language use characteristic of poetry and drama, but in the ground-breaking work Metaphors We Live By (2003), Lakoff and Johnson showed that metaphor is, in fact, a fundamental structuring mechanism in the way we interact with and perceive the world around us Studies have also shown metaphor to be common not only in everyday language but also in the language of pastoral comedy Within the approach of exploratory research, using the qualitative method of data analysis, this study set an objective to investigate how conceptual metaphors denoting emotion of human were manifested in pastoral comedy As You Like It by William Shakespeare in 1599 under the theory of Conceptual Metaphor Theory (Lakoff & Johnson, 1980/2003) There are 76 samples from pastoral comedy As You Like It was analyzed to find out how conceptual metaphors in As You Like It as well as indicate contribute to the success of pastoral comedy As You Like It Conceptual metaphors expressing love have contributed significantly to the success of pastoral comedy As You Like It Conceptual metaphors in general, conceptual metaphors expressing love, in particular, have contributed to character characters, moods, thoughts, and emotions of the characters Moreover, conceptual metaphors create the profound, expressive richness of dramatic language in As You Like It Besides, metaphorical images of high artistic value, artistic symbols have helped the thesis writer analyze the contributions of conceptual metaphors for the success of As You Like It Finally, it is immensely rewarding to work carefully with Shakespeare‘s language so that the words, the sentences, the wordplay, and the implied stage action all become clear as readers for the past four centuries have discovered It may be more pleasurable to attend a good performance of a play though not everyone has thought so ut the joy of being able to stage one of Shakespeare‘s plays in one‘s imagination, to return to passages that continue to yield further meanings (or further questions) the more one reads them these are pleasures that, for many, rival (or at least augment) 58 those of the performed text, and certainly make it worth considerable effort to ―break the code‖ of poetic drama and let free the remarkable language that makes up a Shakespeare text Implications of the study Conceptual Metaphor is improved that it is being in everyday life by Lakoff and Johnson (1980/2003), Conceptual metaphor is not just the means of poetry or literature, learning metaphor we learn how our thought and mind work in the matter of conceptualization As a person who learning and applying English as a foreign language, I have some problems in which such as structure, meaning, culture, etc., and I think there are a lot of people who have the same thing as me As Lakoff and Johnson said, Conceptual metaphors show not only the meanings but also meaningful For these reasons, I think that learning and using Conceptual Metaphor is known by people, who work and act in language, cultural, journalism fields, etc., especially in art fields which is related to Conceptual Metaphor Furthermore, with learner English, understanding Conceptual Metaphor means understanding the meaning, so learning Conceptual Metaphor is essential for us in applying the English in use Besides, most of the European plays are written in English and these plays have large numerous fans in over the world Watching the plays are regarded as approaches to studying English this is the combination of studying and relaxing Throughout we can learn new words, grammar in common, but on the other side, we can get the culture, knowledge, etc which they called cognition The feeling of a play means you feel the beauty of a country, place, human emotion, etc., if you want to hold on to all of these feelings you must think in another person‘s way In another word, you must use cognition in this way As a result, to understand the beauty of a play, in broadening meaning the art lover must use cognition to get meaningful this in common In narrow meaning, this means that using Conceptual Metaphors to understand the meaning of one play, to understand the beauty of this which the author wants to send to audiences Shakespeare is a famous written who is successful at plays to be known by fans in over the world, it is perhaps because of his feelings in each the play to come to hearts‘ audiences, or it is maybe that his language is very day words, not many figurative words, so it is understandable and relevant to listeners His plays can be 59 used as the data for teaching conceptual metaphors in classes (his plays are good examples of conceptual metaphors which are used in everyday language) by the way he used conceptual metaphors are close, understandable, etc., it makes his language go into the hearts of his audiences It can be applied the watching the plays in English class to change the boring atmosphere of the classroom to combine learning and relaxing, promoting a love for study in this subject Limitations of the study Firstly, research finds out expressions of conceptual metaphors in As You Like It comedy written by William Shakespeare and point out their contributions to the success of the play Besides, conceptual metaphors used in As You Like It showed William Shakespeare's views on life and people through the view of love, hatred, kindness, family affection, peace On the other hand, conceptual metaphors also express and create success in many works of William Shakespeare Secondly, there are many researchers with different views on conceptual metaphors Therefore, I have not been able to show the manifestation and contribution of conceptual metaphors in As You Like It from the perspective of many researchers and conceptual metaphors in other works of Shakespeare Finally, the thesis is limited to ―Metaphorical Imagery‖ in some of the scenes and highlights of pastoral comedy As You Like It by William Shakespeare Key features and symbolic representations, typical of ―conceptual metaphors‖ are clarified through conceptual metaphorical models Suggestions for further research The findings of the present study are by no means a complete picture of conceptual metaphors This research is only a small part of the study of conceptual metaphors and still has many conceptual metaphors in the works of William Shakespeare and others Also, it is possible to expand to study: - The types of conceptual metaphors in Shakespeare's plays - Compare and contrast the expression of metaphors in Shakespeare's famous plays -The expression of conceptual metaphor in the way idioms, quotes are derived from William Shakespeare's dramatic language 60 REFERENCES Andrew Jackson George, Main Author: Shakespeare, William, 1564-1616 Black, M 1962 Models and Metaphors NY: Cornell University Press, Ithaca C , T.V (2007a) g n ng hoc tri nh n ghi ch p v su ngh H Nội: Khoa học xã hội Press C , T.V (2007b) Nhận th c, tri nhận - hai hay Tạp chí g n ng , 7, 19-23 Classen, C (1993) Worlds of Sense Exploring the Senses in History and across Cultures London and New York: Longman Evans, V (2007) A Glossary of Cognitive Linguistics Edinburgh: Edinburgh, University Press Evans, V., & Green, M (2006) Cognitive Linguistics: An Introduction Edinburgh: Edinburgh University Press Evans, V et al (2007) The Cognitive Linguistics Enterprise: An Overview In Evan, V, et al (eds.), The Cognitive Linguistic Reader (pp – 36) London: Equinox Publishing Geeraerts, D (2006) Cognitive Linguistics: Basic Readings Walter de Gruyter Berlin New York Huệ, T.T.T (2012) ghiên cứu so sánh đối chiếu ẩn dụ tiếng Việt v tiếng Hán từ góc độ ng n ng học tri nhận Luận án Tiến sĩ, Viện H n lâm Khoa học Xã hội Việt Nam Jackendoff, R (1987) On beyond zebra: The relation of linguistics and visual information Cognition, 26, 89-114 Johnson, M (1992) Philosophical Implications of Cognitive Semantics Cognitive Linguistics, 3(4), 347 Kövecses, Z (1991) Happiness: A definitional effort Metaphor and Symbolic Activity, 6(1), 29-46 Kövecses, Z (2000) Metaphor and emotion: Language, culture, and body in human feeling Cambridge: Cambridge University Press 61 Kövecses, Z (2002) Metaphor: A Practical Introduction Oxford: Oxford University Press Kövecses, Z (2005) Metaphor in culture: Universality and variation Cambridge, University Press Kövecses, Z (2006) Language, mind and culture: a practical introduction Oxford: Oxford University Press Kövecses, Z (2008) Metaphor and emotion In R Gibbs (Ed.), The Cambridge handbook of metaphor and thought (pp 380-396) Cambridge: Cambridge University Press Kövecses, Z (2010) Metaphor: A Practical Introduction (2nd ed.) New York: Oxford University Press Lakoff, G (1986) A Figure of Thought Metaphor and Symbolic Activity, 1(3) Lakoff, G (1987) Image Metaphors Metaphor and Symbolic Activity, 2(3) Lakoff, G (1990) The Invariance Hypothesis: Is Abstract Reason Based on Image schemas? Cognitive Linguistics, 1(1), 40 Lakoff, G (1993) The contemporary theory of metaphor In Ortony, A (eds.) Metaphorand Thought Cambridge: Cambridge University Press, 202-251 Lakoff, G., & Johnson, M (1980) Metaphors We Live By Chicago: University of Chicago Press Lakoff, G., & Johnson, M (2003) Metaphors we live by (Second Edition) Chicago: University of Chicago Press Langacker,R.W (1987).Foundations of cognitive grammar: Theoretical Prerequisites Stanford, CA: Stanford University Press Lee, D (2001) Cognitive linguistics: An introduction Oxford: Oxford University Press McGlone, M (2007) What is explanatory value of a conceptual metaphor? Language & Communication, 27, 109-126 Nesset T (2008) Abstract Phonology in a Concrete Model: Cognitive Linguistics and the Morphology-Phonology Interface Berlin: Mouton de Gruyter 62 Như, N.L.Q (2013) The Emotion-Is-Liquid Metaphor in English and Vietnamese: A Contrastive Analysis Procedia - Social and Behavioral Sciences, 95, 363-371 Picken, J D (2007) Literature, Metaphor, and the Foreign Language Learner New York: Palgrave Mac Milan Quyết, N.T (2015) Metaphors in contemporary English and Vietnamese poetry: a study from cognitive approach Doctoral Dissertation National University, Hanoi Sweetser, E (1990) From Etymology to Pragmatics: Metaphorical and Cultural Aspects of Semantic Structure Cambridge: Cambridge University Press Sweetser, E (1999) Compositionality and blending: semantic composition, in cognitively realistic framework In Janssen, T., & Redeker, G (eds) Cognitive Linguistics: Foundations, Scope and Methodology Berlin: Mouton de Gruyter, 129-162 Sweetser, E (2000) Blended spaces and performativity Cognitive Linguistics, 11(3/4), 305-334 Talmy, L (2000) Toward a Cognitive Semantics (2 vols) Cambridge, MA: MIT Press Th ng, L.T (2005) g n ng học tri nhận - Từ lý thu ết đại cương đến thực tiễn tiếng Việt H Nội: Khoa học Xã hội Press Th ng, L.T (1984) Ngôn ngữ v tri nhận không gian g n ng , số T n, N (2002) ặc trưng tư người Việt qua ẩn dụ g n ng , số 11, 12-23 Tr o, N.V (2009) Th nh ng tình cảm tiếng Anh v tiếng Việt Ph n tích so sánh đối chiếu Luận án Tiến sĩ, ại học Queensland Vũ Trọng Phụng, Tiểu thuyết Số đỏ, NX V n học 2002 Website: https://www.folger.edu/shakespeare https://en.wikipedia.org/wiki/As_You_Like_It http://onlinebooks.library.upenn.edu http: // www Scratchgerdigitaltexts.org 63 http://www.shakespeare-online.com/biography/metaphorlist.html) http://www.shakespearemag.com/summer03/dozen.asp https://www.sparknotes.com/nofear/shakespeare/asyoulikeit/ https://vi.m.wikipedia.org/wiki/S%E1%BB%91_%C4%91%E1%BB%8F https://www.writework.com/essay/shakespeare-s-use-metaphors-play-you-likecitations 64 APPENDICES APPENDIX LIST OF STRUCTURAL METAPHORS IN AS YOU LIKE IT SOURCE DOMAIN: AN OBJECT Creation is an object (Act 1-scene 1-2) ―Mess up one of God‘s creations‖ Education is an object (Act 1-scene 1-3) ―Give me a good education‖ Freedom is an object (Act 1- scene 1-3) ―Give me the freedom‖ Love is an object ( Act 1-scene 2-1) ―Falling in love‖ Death is an object (Act 2-scene 6) ―Keep death at arm‘s length for a while‖ Smart is an object (Act 1-scene 1-2) ―Smart peoples‘wits are always sharpened by the presence of a fool‖ Knowledge is an object (Act 1-scene 2-3) ―Out of your great heap of knowledge‖ News is food/ an object (Act 1-scene 2-4) ―His mouth full is news‖ ― Stuffed with news‖ News is water (Act 3, scene 2-9) ―So I can drink the news‖ Speed is an object (Act 1-scene 2-9) ―Give you speed‖ 10 The brain is an object (Act 1-scene 2-11) ―I left my brain back on the wrestling field.‖ 11 Some words are objects (Act 1-scene 3-1) ―Throw some of your words at me‖ 12.The working-day world is an object(Act 1-scene 3-1) I ―This working -day world is full of thorns‖ 13 Grief is an object (Act 1-scene 3-5) ―Take this all upon yourself, bearing your grief alone and leaving me out‖ 14 Peace and sweetness are objects (Act 2-scene 1-1) ―To be able to see peace and sweetness" 15 Information is an object (Act 2-scene 4-4) ―Pay you for the information‖ 16 The story is a necklace/ an object (Act 1- scene 2-6) ―They wore proclamations around their necks‖ 17 The voice is the clothes/ an object (Act 2- scene 5-1) ―My voice is ragged‖ 18 Rude and envious behavior knives/ objects (Act 1-scene 2-11) ―My father‘s rude and envious behavior is a knife through my heart‖ 19 Sadness is an object (Act 2-scene 5-1) ―Suck sadness out of a song the way a weasel sucks eggs‖ 20 Human foolishness is an object ―Foolishness is the road was beaten to the parish church" (Act 2, scene 7-3) SOURCE DOMAIN: A JOURNEY 21 Sadness is a journey (Act 1-scene 1-1 ) ―I was brought up well - and that‘s where my sadness begins‖ 22 Time is a material/a journey ―Wasting time here‖(Act 2-scene 4-5) ―Time travels at different speeds for different people‖(Act 3-scene 2) SOURCE DOMAIN: NATURAL - NATURE 23 Spirit is a human/ plant/ nature (Act 1-scene 1- 3) ―Spirit is growing in me‖ 24 A human is a plant II "Rosalind is a rose My sweet rose/My dear rose" (1.2.21- 22) 25 Eyes are a weather phenomenon/natural (Act 1-scene 2-11) ―Shoot lightning bolts from my eyes‖ 26 The wind is a monster/ an animal /natural (Act 2-scene 1-1) ―When the icy fangs of the brutal, scolding wind bite and blow on my body‖ SOURCE DOMAIN: A DISEASE/ ROPE/ FIRE/TEMPERATURE/FREEDOM 27 Insolence is a disease (Act 1-scene 1-4) ―I‘ll cure you of your insolence‖ 28 Passion is a rope/fire/temperature (Act 1-scene 2-12) ―What is this passion that ties up my tongue?‖ ―They‘re in the heat of passion; they simply have to be together You couldn‘t beat the two of them apart‖(Act 5, scene 2) 29 Wisdom is freedom (Act 1- scene 2-3) ―Unleash your wisdom‖ III APPENDIX LIST OF ONTOLOGICAL METAPHORS IN AS YOU LIKE IT SOURCE DOMAIN: A HUMAN / A MAN / A PERSON Spirit is a human/ plant/ nature (Act 1-scene 1- 3) ―Spirit is growing in me‖ Nature is a human (Act 1-scene 2-2) ―Nature makes a person beautiful.‖ ―Nature sensed that/ sent…‖ ―Nature has given us the wit to have this argument‖ The earth is a human (Act 1-scene 2-9) ―To lie with mother earth‖ The country is a human (Act 2-scene 1-2) ―Heart of the country‖ A bird is a human (Act 2-scene 5-1) ―To follow the sweet bird‘s singing Time is a human (Act 3-scene 2-13) ―Making the lazy foot of time with a sigh every minute‖ A drink is a man (Act 3, scene 2-9) ―Wine from a narrow neck is the mysterious man came out of his mouth‖ Animals (sheep and deer) are humans ―Sheep and deer are gentle and innocent‖ (Act 3,scene 5-3), (Act 2, scene 1-1) Time is a person (Act 4, scene 1) ―Well, time is the old judge that tries your kind of criminal Time will tell what kind of a man you are.‖ 10 Animals (the snakes and lions) are human (Act 4, scene 3) ―She-snakes and she-lions is meant mischief, lies, cruel‖ 11 A tree is a human ―To symbolize rebirth or rejuvenation is a green tree‖ (Act 2, scene 5) SOURCE DOMAIN: NATURAL - NATURE - AN ANIMAL IV 12 Spirit is a human/ plant/ nature (Act 1-scene 1- 3) ―Spirit is growing in me‖ 13 A human is an animal (Gawky is a person's name) ―Gawky is a snail‖ (Act 4, scene 1-3) 14 Women is a weather phenomenon/natural ―Women is climate‖ weather phenomenon/natural (Act 4, scene 1-7) ―Women are as sweet and temperate as spring climate when they‘re single, but the climate changes once they‘re married.‖ 15 Luck is a cereal ―Luck and sake are two beans‖ (Act 2, scene 4-3) 16.( Infidelity is a horned snail/ an animal(Act 4, scene 1) ―See, the snail already has its horns, which prevents nasty rumors from spreading about his wife‘s infidelity.‖ 17 Nature (the wind) is a monster (an animal) ―(Act 2-scene 1-1) ―When the icy fangs of the brutal, scolding wind bite and blow on my body‖ 19 Human is nature ―The ingenuity of people is winter wind‖ (Act 2, scene 7) 20 A human is a plant "Rosalind is a rose My sweet rose/ My dear rose" (1.2.21- 22) 21 Rosalind is a cereal/food (Rosalind is the name of a girl) ―The sweetest nut has the sourest rind.‖ Act 3, scene 4-2) And Rosalind is that kind of nut.‖ 22 Luck is a cereal ―Luck and sake are two beans‖ (Act 2, scene 4-3) SOURCE DOMAIN: AN OBJECT 22 The brain is an object (Act 1-scene 2-11) ―I left my brain back on the wrestling field.‖ 23 The pain is an object ―The pain is a big round tear‖(Act 2-scene 2-1) V 24 Love is an object (Act 3-scene 2-18) ―I drove love out and anger in‖ 25 A man is an object (Act 3, scene 2-9) ―So you want to put a man in your belly.‖ 26 Advice is an object (Act 3, scene 2-16) ―I would give him some good advice‖ 27 Anger is an object (Act 3-scene 2-18) ―I drove love out and anger in‖ 28 The heart is an object (Act 5, scene 1) ―Oh, darling Orlando, it‘s so hard to see you wearing your heart in a sling‖ 29 Human foolishness is an object ―Foolishness is the road was beaten to the parish church" (Act 2, scene 7-3) SOURCE DOMAIN: A TREATMENT/ WEAPON/ TIME DIVISIONS/ FIRE/TEMPERATURE 30 Love is a treatment (Act 3, scene 2-16) ― ut if you‘re really sorry for me, you can cure me If you‘re sorry for the grief I feel in loving you, you can love me back Then both my grief and your sorrow will be cured.‖ 31 Love is a weapon (Act 3, scene 5-2) ―Oh, darling Phoebe, if you ever fall in love with some fresh face, then you‘ll know about the invisible wounds that love‘s sharp arrows can make” 32 Men are months of the year (April, December, May)/parts of the calendar/time divisions ―Men are April when they woo, December when they wed:/ maids are May when they are maids‖ (Act 4, scene 1) 33 Passion is fire/ temperature (Act 5, scene 2) ―They‘re in the heat of passion; they simply have to be together.‖ SOURCE DOMAIN: WATER/ ADRINK/ CONTAINERS/ MONEY 34 News is water/a drink (Act 3, scene 2-9) VI ―So I can drink the news‖ 35 Deep thoughts are water/containers (Act 4, scene 1) ―When I think about all the things I've seen, I sink into deep thoughts.‖ 36 Time delay is a journey (Act 3-scene 2) ―Every second you delay is a journey to South Seas.‖ 37 Time is money ―Wasting time here‖(Act 2-scene 4-5) VII APPENDIX LIST OF ORIENTATION METAPHORS IN AS YOU LIKE IT ―Live UP to your potential in love‖(Act 1-scene 2-11) Connectivity is the mountain moved together with the earthquake (Act 3, scene 2-8) ―Oh God, God! It‘s difficult to bring two friends together, but even mountains can be MOVED together by earthquakes.‖ Time in love moves at different speeds, for each person (Act 3, scene 2-14) ―Time travels AT DIFFERENT speeds FOR DIFFERENT people‖ ―I could shoot lightning bolts FROM my eyes, I can tell you who‘d be ON THE GROUND‖ The bottom of love is deep as the Gulf of Portugal (Act 4, scene 1-9) ―Oh cousin, cousin, cousin, my sweet little cousin, I wish you knew how DEEP IN love I am The BOTTOM of my love is so DEEP it can‘t be reached It‘s as DEEP as the bay of Portugal.‖ Jealous meaning the wild rooster is above the hen (Act 4, scene 1-7) ―I‘ll be more jealous of you than a wild rooster OVER his hen‖ Rude and envious behavior is a knife (Act 1-scene 2-11) ―my father‘s rude and envious behavior is a knife THROUGH my heart‖ ―OUT OF the frying pan and INTO the fire‖(Act 1, scene 2-13) ―They wore proclamations AROUND their necks‖ ( Act 1-scene 2-6) 10 ―Wine FROM A NARROW neck is the mysterious man CAME OUT OF his mouth‖ (Act 3, scene 2-9) VIII ... STUDIES o0o TRẦN NGỌC ANH CONCEPTUAL METAPHORS IN “AS YOU LIKE IT” BY WILLIAM SHAKESPEARE (Ẩn dụ ý niệm “As You Like It” William Shakespeare) M.A MINOR PROGRAMME THESIS Field: English Linguistics... plays of Shakespeare rare There has been no specific study on conceptual metaphors in " As You Like It" by William Shakespeare From that, I want to research, conceptual metaphors in "As You Like. .. metaphor, an introduction William Shakespeare The aim is to establish a theoretical background for the study of conceptual metaphors in "As You Like It" by William Shakespeare 2.1 Cognitive Linguistics