Flowers (Symbol)
Flowers symbolize birth, renewal, and regeneration. The play begins with the scene of Theseus and Hippolyta's wedding, where a boy throws flowers at their feet and sings about the blooms blessing them and ushering in a new strengthened bond. The play is also set during springtime to parallel the change in seasons with the changing relationships featured throughout the performance.
Garlands (Symbol)
Garlands are an important symbol both in Ancient Greek mythology and culture (where the play is set) as well as within the action of the play. Garlands historically symbolize victory, and were often given to warriors who demonstrated particular prowess on the battlefield. Theseus rewards Arcite with a garland after he defeats Palamon in their duel. However, it is later reported that Arcite falls from his horse after his garland fell first, suggesting his loss of victory.
Black (Motif)
The color black appears throughout the play as an indicator of death and mourning. When the three queens interrupt Theseus and Hippolyta's wedding, they are dressed all in black to suggest their distraught state over their husbands' deaths without proper burial. Later, Arcite enters the battle with Palamon on a black horse, foreshadowing his eventual death.
Drowning (Symbol)
In the subplot of the jailer's daughter, the wooer saves the daughter from drowning during one of her mad fits. This drowning episode is a meta-theatrical symbol of the play's tragicomic genre. It is also a direct nod to arguably Shakespeare's most famous tragedy, Hamlet, in which Ophelia goes mad and eventually drowns in the river (it is left unclear whether Ophelia takes her own life). In this play, the mad woman is saved by her lover, showcasing the play's blend of both tragic and comic elements.
Combat (Motif)
As soon as Arcite and Palamon decide they are sworn enemies over their mutual love for Emilia, they begin talks of dueling and single combat. Their first attempt at a duel is unsuccessful, as Theseus intervenes and angrily attempts to sentence them both to death for acting without the consent of the Duke. These attempts at combat reflect the chivalric code that dominates the mindsets of the male characters in the play, even when subscribing to the code appears absurd to other characters and audiences alike.
