The following directions replace the forecast I sent to you last week.
(Because I felt we needed more work on explications I've made a few
changes.)
As you all know we've been working hard on explications
(unfolding a text to show what it means and how it conveys that
meaning). We broke the Hamlet's 3.1 monologue into sections. Then we
analyzed what it means and how it conveys that meaning sentence by
sentence. Based on your questions about other areas of act three we've
explicated other passages too. I want to give you all a chance to try
out the explication strategies for yourself.
1. Each of you has
been assigned a different passage between 3.1 and 4.4. You will
explicate the passage this way: (1) introduce the passage by providing
context and discussing the overall dramatic and thematic significance of
the passage; (2) take your readers through the passage, (a) explaining
the meaning (sentence-by-sentence and/or speech-by-speech), (b)
exploring the significance of how* Shakespeare conveys meaning,
and (c) exploring dramatic and thematic connections to other parts of
the play; (3) conclude with strong assertions summarizing the dramatic
and thematic significance of the passage as revealed in your
explication.
Jordan W and Hope W: 3.1.99-160 Hamlet and Ophelia after the "To be or not to be" speech
Hannah E & Zach S: 3.1.161-202 after Hamlet departs
Corrine D & Kevin R: 3.2.1-97 Hamlet to the actors, etc.
Kacie Q & Olivia P: 3.2.98-296 Murder of Gonzago/Mouse Trap* [A-block explicate 3.2.98-3.2.175; F-block explicate 3.2.176 to 3.2.296]
Christina S & Seiken O: 3.2.207-417 after the play within the play* [A-block explicate 3.2.297-3.2.373; F-block explicate 3.2.374-3.2.417]
Diana D & Cara O: 3.2.418 to end Hamlet's mini-soliloquy
Kelly F & Emily M: 3.3.1-39 Claudius, Rosencrantz, Guildenstern, Polonius
Ivy G & Liz M: 3.3.40-103 Claudius confesses? Hamlet is sicklied o'er with the pale cast of thought?
Anna G & Katie M: 3.4.1-40 a rat behind an arras
Bethany G & Carren J: 3.4.41-116 Hamlet and his mother
Logan H & Michael J: 3.4.117-240 Ghost reappears to end of scene [A-block explicate 3.4.117-3.4.176 F-block explicate 3.4.177-3.2.240]
James K & Sydney I: 4.1 Queen and King after "unseen good old man" is slain
Arly M & Alan D: 4.2 Hamlet messes with R & G
Kirsten S & Josh D: 4.3 Hamlet messes with Claudius and is sent to England
Yazmeen S & Nicole B: 4.4.1-33 Fortinbras crossing Denmark; Hamlet leaving for England
Your explication must be posted to the blog by Monday, November 19.
In your explication use your first name and last initial; also indicate
the lines you are explicating. Your explication must represent your own
work. Do not plagiarize. To help you understand tricky passages you may
use the notes in the Folger's edition of Hamlet (the book you have) and
the notes provided by the enotes Hamlet text (link here)
but do not rely on the enotes "modern translation". You must cite the
passage at the top of your explication; you must cite lines, phrases,
and words (act.scene.line) as you quote them; you must cite notes that
you use. (For Works Cited Page: Mowat, Barbara A and Paul Werstine, eds.
Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009. "Hamlet Text and Translation." eNotes. 2012. Web. 15 Nov 2012. For in-text citation of notes: (Mowat page#) or ("Hamlet Text and Translation").
**********************
*How do I write about how Shakespeare conveys meaning?: When exploring the significance of how the passage is written think of these elements: imagery (literal and metaphorical), word choice (denotation and connotation), sentence structure (parallel structures, periodic structures, antithesis, complex/compound sentences, questions, exclamations), dramatic and rhetorical structure (look for shifts in the action and in the language), patterns (comparisons, contrasts, repeated words/images/situations within the passage or in the passage and elsewhere in the play), sound (iambic pentameter, rhyming couplets, alliteration, assonance), etc.
**********************
2. That leads us up to Hamlet's final soliloquy (4.4). Respond to the two 4.4 soliloquy prompts on the blog by class time on Tuesday, November 20.
3. By class time on Tuesday you also will have read to the end of act four (the end of 4.7) with notes on the narrative and your motif.
4. We'll have a brief class on Wednesday in which I'll explain the work you'll be doing about Ophelia, motif writing on acts 3-5, and reading the final act of the play.
This comment has been removed by the author.
ReplyDeleteArly M.
ReplyDeleteAct 4 Scene 2
In the previous scene, Act 4 scene 1 lines 1-46, Gertrude informs Claudius of Hamlet’s “madness” for killing Polonius (4.1.10-12). Claudius replies with complete surprise and deems Hamlet a “threat to all” (4.1.15). Considering his position as king, Claudius presumes others will blame him for allowing this kind of immoral act (4.1.15-18). Gertrude tells Claudius that Hamlet has taken the body away; therefore Claudius orders Hamlet’s friends Guildenstern and Rosencrantz to locate Hamlet and immediately return the corpse back to the chapel (4.1.34-38).
Scene 1 further on continues to scene 2, where Hamlet puzzles both Guildenstern and Rosencrantz. Guildenstern, Rosencrantz, and other individuals enter the scene, where they all call for Hamlet and question the location of the corpse (4.2.1-5). Hamlet shrewdly replies, “Compounded it with dust, wherto tis’kin,” meaning that the body has become dust (4.2.6). In other words, Hamlet reflects Genesis 3.19, “for dust thou art, and unto dust shalt thou return,” merely implying that the body originates from dust, therefore once the body is dead it returns back to the state of being dust (Mowat 192). Hamlet uses imagery when he indicates the body as dust, illustrating a palpable image, yet Guildenstern and Rosencrantz ignore his scorn and continue to ask the location of the corpse (4.2.7).
Guildenstern and Rosencrantz insist on the location because they were both ordered by the king to return the corpse back to the chapel (4.2.8). Hamlet scolds and replies, “Do not believe it…That I can keep your counsel and not mine own” (4.2.9-11). Instead of answering their prime question, Hamlet is very stubborn and immediately alerts them that he will not listen to their advice, except his own. Hamlet continues, “Besides, to be demanded of a sponge, what replication should be made by the son of a king?” (4.2.11-13). Here, Hamlet carries on with the use of comparison by repeating the term “sponge,” another tangible term as well. For one thing, he compares Guildenstern and Rosencrantz to sponges and because of his position as the prince; he deems that he cannot reply any interrogations asked by two sponges. In other words, Hamlet considers his “friends’” devotion for the king as being sponges because they “soak up the King’s countenance, his rewards, his authorities,” thereby replicating their response to authority as a sponge because they do anything the king requests whenever the king desires it (Mowat 192). They both sustain the king’s “countenance” or “favorable looks” like sponges, taking everything in even if it does not pertains an actual cause (Mowat 192).
Subsequently, Hamlet relates the king’s form of manipulation as “keeping them like an ape an apple in the corner of his jaw, first mouthed, to be last swallowed” (4.2.17-19). Hamlet shifts back and forth, by first reflecting Guildenstern and Rosencrantz responses’ to authority and then to Claudius’s form of exploitation of them. In this case, Claudius is the ape, storing the apple or Guildenstern and Rosencrantz in his mouth, merely waiting for the appropriate moment to take a bite out of it or them (Mowat 192). This illustrates a metaphorical significance, in which the king is simply using both individuals for the occasions that only benefit him. Furthermore he expresses, “When he needs what you have gleaned, it is but squeezing you, and, sponge, you shall be dry again” (4.2.19-21). Once again, the term “sponge” is being repeated, where the apple that was compared to Guildenstern and Rosencrantz now returns to the sponge metaphor. This transition occurs in the line after the word “but” (4.2.19-21). Moreover, “When he needs what you gleaned,” so when the king really needs them, “it is but squeezing you,” he takes all the information out of them, the keyword is “but” (4.2.20). After “but”, the line further continues using comparison, in which the apple is now being compared to a sponge, thus one metaphor is being related to another. Hamlet says that once the knowledge they know is “squeezed” out of them, they are dry and without any information and when they do acquire any further knowledge the pattern continues (4.2.20).
ReplyDeleteBoth Guildenstern and Rosencrantz do not grasp any of his references and Hamlet considers both to have “foolish ears” because of their incapability at understanding such a cunning speech (4.2.23). The word sleep in the line, “A knavish speech sleeps in a foolish ear” does not signify actual sleep, it means confusion, hence further demonstrating this theme of “weakness” when sleep is always being referred to (Mowat 192). For instance back in Act 1, King Hamlet was killed during his sleep, hence demonstrating a state of disadvantage. Hamlet continues with his stubbornness and does not answer Guildenstern or Rosencrantz’s question. He replies, “The body is with the King, but the King is not with the body. The King is a thing—“ (4.2.27-28). Hamlet jumbles and plays with all his words in order to confuse them, a context similar to the second soliloquy, “to be, or not to be” “the body is with the King, but the King is not with the body,” thus they are two contrasting lines in one. If the body is with the king, then why is the king not with the body? As a result, Hamlet refers the king as “A ‘thing’ of nothing” or something of no importance (Hamlet Text and Translation). He refuses to answer the question and ends with, “Hide fox, and all after,” sending Guildenstern and Rosencrantz to go hide-and-seek the body for themselves (Mowat 194).
Overall, this scene is very important because Hamlet’s opinion of authority is being revealed and how he views Guildenstern and Rosencrantz’s allegiance to the king. Both his perception of his friends, Guildenstern and Rosencrantz and his disdain for Claudius is demonstrated within analogies that neither Guildenstern nor Rosencrantz are able to grasp. Thus, with his words and analogies, Hamlet was able to successfully confuse them both.
Works Cited
Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
"Hamlet Text and Translation." eNotes. 2012. Web. 15 Nov 2012
Sydney I.
ReplyDelete4.1.
Claudius asks Gertrude where her son is. He doesn’t ask where “our” son is, but “your”. This is because Hamlet is not his son by blood, but it is still interesting since Claudius has taken the place of Hamlet’s father. It’s a complicated family dynamic, and it shows how Claudius truly feels about Hamlet, that he was something Claudius didn’t want to gain even though Gertrude and the crown were. This is further proved by how he sends Hamlet off to England.
Gertrude then explains that Hamlet is “Mad as the sea and wind when both contend/ Which is the mightier” (line 7-8). This is using more water imagery. When thinking of sea and wind fighting, there doesn’t seem to be a winner. They are battling it out and creating a storm inside Hamlet’s head and he can’t figure out what to do through confusion and mayhem. She tells Claudius that Hamlet called Polonius a rat before stabbing him. Animal imagery makes Polonius seem like an annoying creature that’s always poking around into things it shouldn’t be and creating problems for everyone while he lives comfortably. She calls him an “unseen good old man”. Did she know of Polonius’s true nature and was just trying to eulogize him? Or did she really think Polonius was a good person at heart? The audience is left wondering this, and also wondering if she knows of what Claudius to King Hamlet. Is she really oblivious and think that she is surrounded by good people?
Claudius goes on to say that had they kept Hamlet away from people and out of sight, this wouldn’t have happened. They were so blind by their love for each other that they didn’t think of Hamlet. He feels guilty for what he’s done to his son-nephew. When he asks where Hamlet has gone, she says that he left to hide the body and mourn.
Lines 30-31, “The sun no sooner shall the mountains touch/But we will ship him hence.” Claudius wants to send Hamlet to England as soon as possible, and he will excuse Hamlet’s deed. This may be because he knows that he too has killed, and it would be unfair to do the same to Hamlet. He figures that simply shipping Hamlet off would be best, so that he can’t kill Claudius, who he intended to kill in the first place.
He then calls in R and G and tells them to go find the body and bring it to the chapel for a proper burial. The scene ends with a rhyming couplet, lines 45-46, “O, come away!/ My soul is full of discord and dismay.” This is to emphasize how upset he is over the death of Claudius, but will he mourn his friend longer than his brother?
Kelly F.
ReplyDelete3.3. 1-39 Claudius, Rosencrantz, Guildenstern, Polonius
At the time in the play when this passage is taking place, it is after the scene where Claudius runs out during the performance by the travelling actors. The part of Act III scene ii that directly precedes this passage, is when Gertrude wishes to speak to Hamlet, and Hamlet promises that he will not physically hurt her, but his words will be harsh. When scene three begins, which is the passage I am to explicate, is when the King (Claudius) orders Rosencrantz and Guildenstern to take Hamlet to England immediately. Then, Polonius arrives to tell Claudius of his plans to spy on Hamlet’s conversation with Gertrude (Mowat 162). This passage is very significant to the entire play because we first hear of Claudius’s plans to send Hamlet to England, which comes up several more times throughout the course of the story. This is also when we find out Polonius’s motives to spy on Hamlet; which comes up in the next scene.
When scene 3 opens, Claudius says “I like him not, nor stands it safe with us To let his madness range. Therefore prepare you. I you commission will forthwith dispatch, And he to England shall along with you. The terms of our estate may not endure Hazard so near ‘s as doth hourly grow Out of his brows.” (III,iii,1-7). In this dialogue, the King is telling Guildenstern and Rosencrantz that the he does not like Hamlet, and that it would be dangerous to let him stay there. Therefore, they are to take Hamlet with them to England to prevent further craziness. Shakespeare conveys this meaning using multiple strategies. One is the shift in action when the King says “I like him not, nor stands it safe with us To let his madness range.(III,iii,1-2)” Rather than saying “since I don’t like him, I am sending him to England”, he creates a parallel saying not only that he does not like Hamlet, but that it is unsafe for the country to keep him there, which really emphasizes his feelings towards Hamlet. “The terms of our estate may not endure Hazard so near ‘s as doth hourly grow Out of his brows (III,iii,5-7)” is King Claudius that his position as a king(Mowat 162) may not last if they keep Hamlet around. When Shakespeare says “as doth hourly grow Out of his brows (III,iii,6-7)”, he is saying that Hamlet gets crazier by the hour. Shakespeare uses an exaggeration of how crazy Hamlet is getting; he is so crazy that he is growing out of his own craziness.
Replying to Claudius’s demands, Guildenstern says “We will ourselves provide. Most holy and religious fear it is To keep those many many bodies safe that live and feed upon your Majesty.(III,iii,9-12)” Shakespeare uses repetition when he says “many many bodies (III,iii,11)”. This repetition contributes to the effectiveness of what Guildenstern is stating. He is saying that they will prepare to save the lots of people that rely on King Claudius. Repeating the word many makes the audience understand that it is not only a few of them that are affected by this, but that it is the entire kingdom. In this passage, Shakespeare also used a sort of metaphorical imagery when saying “that live and feed upon your Majesty (III,iii,11).” He is actually saying to save the people that depend upon Claudius. Using the w words live and feed creates the image of somebody surviving, which carries over much more influence that if he had just used the word “depend” would.
“The single and peculiar life is bound With all the strength and armour of the mind To keep itself from noyance; but much more That spirit upon whose weal depends and rests The lives of many. (III,iii,12-16)” Rosencrantz is saying this, also in reply to Claudius’s demands, saying that people try to avoid being harmed, but that the King requires even more protection. The choice of using the phrase “single and peculiar life” is interesting. Why isn’t it just “life”? Well, I think uses those details to enhance the sound of that line. Not only does it add emphasis on whose life he is speaking of, but it also adds syllables to the line which really make it flow nicely.
Kelly F.
ReplyDelete“The cess of majesty Dies not alone, but like a gulf doth draw What's near it with it. (III,iii,16-18)” Rosencrantz is saying that when the leader or king dies, it is not only him dying, but he brings others down with him; similar to a gulf. Shakespeare is creating a parallel between the ruler dying, and a gulf. This comparison is significant at the very end of the play (*spoiler alert*), because Hamlet stabs Claudius; so the reader/audience has the thought of this in the back of their head at that time, later in the book.
“It is a massy wheel, Fix'd on the summit of the highest mount, To whose huge spokes ten thousand lesser things Are mortised and adjoin'd; which, when it falls, Each small annexment, petty consequence, Attends the boisterous ruin. Never alone Did the King sigh, but with a general groan (III,iii, 18-24).” Rosencrantz is stating that the leader is like a wheel that is on the top of a mountain whose spokes touch ten thousand smaller things when it falls, and that every little object goes with it. And that the King never sighs by himself, but with the whole country’s groan ("Hamlet Text and Translation"). This also comes back into play at the end of the play when Claudius dies. In this speech, Shakespeare uses a few strategies to convey meaning. One is imagery. With the image of a wheel, falling down the highest mountain, taking everything down with it, the passage is more effective to the reader. In the line “Never alone Did the king sigh, but with a general groan. (III,iii,23-24), Shakespeare uses several strategies. First is the metaphor he creates. When the king sighs; the country groans. This goes hand in hand with the idea that when the king dies, the country goes down as well. Later in the book, when Claudius dies, the reader has this in mind; that when the king dies, the country falls too. I also noticed that earlier in the book, in Act 2, scene 2, the First Player references a wheel, so this scene is the second time the idea of a wheel is presented. After reading both of the speeches that involve a wheel, I could make the connection to Hamlet not wanting to become King, because their fate is not good.
“Arm you, I pray you, to this speedy voyage; For we will fetters put upon this fear, Which now goes too free-footed. (III,iii, 25-28)” King Claudius speaks this to Guildenstern and Rosencrantz, telling them to prepare for their trip, and that he will try to control the danger/fear that is not under control now. Although it appears as if Claudius would be talking about the people when he speaks of fear, he is actually talking about himself.
“My lord, he's going to his mother's closet. Behind the arras I'll convey myself, To hear the process. I'll warrant she'll tax him home; (III,iii,29-32).” At this time in the scene, Polonius is speaking to King Claudius saying that Hamlet is going into his mother’s bedroom, and that Polonius will hide behind the curtain so he can hear what happens. His prediction is that she will scold Hamlet. In this sentence, Shakespeare’s word choice is very particular. Each word he uses is effective. One that stood out is using the word “process”, when speaking of Hamlet and his mother’s conversation. This shows that Polonius is predicting something will happen, and it will be more than just a simple conversation.
Kelly F.
ReplyDelete“The cess of majesty Dies not alone, but like a gulf doth draw What's near it with it. (III,iii,16-18)” Rosencrantz is saying that when the leader or king dies, it is not only him dying, but he brings others down with him; similar to a gulf. Shakespeare is creating a parallel between the ruler dying, and a gulf. This comparison is significant at the very end of the play (*spoiler alert*), because Hamlet stabs Claudius; so the reader/audience has the thought of this in the back of their head at that time, later in the book.
“It is a massy wheel, Fix'd on the summit of the highest mount, To whose huge spokes ten thousand lesser things Are mortised and adjoin'd; which, when it falls, Each small annexment, petty consequence, Attends the boisterous ruin. Never alone Did the King sigh, but with a general groan (III,iii, 18-24).” Rosencrantz is stating that the leader is like a wheel that is on the top of a mountain whose spokes touch ten thousand smaller things when it falls, and that every little object goes with it. And that the King never sighs by himself, but with the whole country’s groan ("Hamlet Text and Translation"). This also comes back into play at the end of the play when Claudius dies. In this speech, Shakespeare uses a few strategies to convey meaning. One is imagery. With the image of a wheel, falling down the highest mountain, taking everything down with it, the passage is more effective to the reader. In the line “Never alone Did the king sigh, but with a general groan. (III,iii,23-24), Shakespeare uses several strategies. First is the metaphor he creates. When the king sighs; the country groans. This goes hand in hand with the idea that when the king dies, the country goes down as well. Later in the book, when Claudius dies, the reader has this in mind; that when the king dies, the country falls too. I also noticed that earlier in the book, in Act 2, scene 2, the First Player references a wheel, so this scene is the second time the idea of a wheel is presented. After reading both of the speeches that involve a wheel, I could make the connection to Hamlet not wanting to become King, because their fate is not good.
“Arm you, I pray you, to this speedy voyage; For we will fetters put upon this fear, Which now goes too free-footed. (III,iii, 25-28)” King Claudius speaks this to Guildenstern and Rosencrantz, telling them to prepare for their trip, and that he will try to control the danger/fear that is not under control now. Although it appears as if Claudius would be talking about the people when he speaks of fear, he is actually talking about himself.
“My lord, he's going to his mother's closet. Behind the arras I'll convey myself, To hear the process. I'll warrant she'll tax him home; (III,iii,29-32).” At this time in the scene, Polonius is speaking to King Claudius saying that Hamlet is going into his mother’s bedroom, and that Polonius will hide behind the curtain so he can hear what happens. His prediction is that she will scold Hamlet. In this sentence, Shakespeare’s word choice is very particular. Each word he uses is effective. One that stood out is using the word “process”, when speaking of Hamlet and his mother’s conversation. This shows that Polonius is predicting something will happen, and it will be more than just a simple conversation.
Works Cited
ReplyDeleteMowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
"Hamlet Text and Translation." eNotes. 2012. Web. 16 Nov 2012.
Christina S.
ReplyDelete3.2.297-3.2.373
In this part of the play, Hamlet and Horatio discuss Claudius’ guilty reaction to “The Mousetrap,” and Rosencrantz and Guildenstern tell Hamlet about his mother’s extreme disappointment with his behavior. After everyone else exits the room, Hamlet says a short poem. “Why, let the stricken deer go weep, / the hart ungalléd play. / For some must watch, while some must sleep; / Thus runs the world away (3.2.297).” In this metaphor, the stricken deer are the people who, like Claudius, are burdened with the guilt of a horrible act, while the hart ungalléd are the innocent. Hamlet then brings up the motif of sleep in the next line. When he says that “some must watch, while some must sleep,” he means that the guilty must watch the effects of their crime, or live with the guilt, while the innocent are free to sleep peacefully. “Thus runs the world away” means that this is how it works; it’s natural.
A few lines later, Hamlet says another poem, although this one doesn’t rhyme. “For thou dost know, O Damon dear, / This realm dismantled was / Of Jove himself, and now reigns here / A very very – pajock (3.2.307).” Damon was a man in Roman mythology who had a strong friendship with a man named Pythias, so in this line, Hamlet is just addressing his best friend, Horatio (Mowat 154). Jove is regarded as king of the gods (“Hamlet Text and Translation”), and in this metaphor, he seems to represent fate. Fate had dismantled the structure and order of Denmark when King Hamlet died. It is speculated that “pajock” means peacock, which is a symbol for lust and cruelty (Mowat 154). So, Hamlet feels as though fate has put a peacock in charge of the kingdom, which shows his contempt for Claudius. The fact that he lost the rhyme at the end shows several things. Hamlet seems to be very excited in this scene because the players are in town and he just found out that the ghost was right. He’s so thrilled and in such a good mood that he wasn’t going to waste time with that poem. This can also be viewed as a failure. The reader knows that Hamlet is good with words, so if he’s unable to rhyme in some meaningless poem, how could he possibly murder the king, which he has no experience in?
Rosencrantz and Guildenstern enter and tell Hamlet that Claudius is very angry with him. Hamlet responds very wittily and doesn’t give them a straight answer. For example, Guildenstern asks if he can have a word with him, to which Hamlet replies, “Sir, a whole history (3.2.324).” Guildenstern then says that the king is extremely upset, and Hamlet basically asks if the king has an upset stomach from drinking too much (Mowat 154). In the next few lines, Hamlet makes a pun using the word “choler,” which can either mean having too much bile, or anger (Mowat 154). Guildenstern remarks that the king isn’t upset with drink, but with choler. Hamlet then says, “Your wisdom should show itself more richer to signify this to the doctor, for for me to put him to his purgation would perhaps plunge him into more choler (3.2.331).” These witty remarks can be taken as a sign of sanity. His words appear to be nonsensical to the other characters, which leads them to believe that Hamlet’s going crazy, but the reader is able to catch a deeper meaning.
DeleteRosencrantz and Guildenstern grow agitated when Hamlet refuses to comply with them. Rosencrantz reminds him that they were once good friends and asks what happened. Hamlet replies, “Sir, I lack advancement (3.2.368).” He means that he has no future, which is a strange thing for him to say. Hamlet’s still trying to figure out if he should continue to live or kill himself and end his misery. This reply insinuates that he’s already made up his mind about this. Another theory is that Hamlet is still trying to mess with Rosencrantz and Guildenstern, and saying that Hamlet has no future is Shakespeare’s way of foreshadowing events to come.
Works Cited
Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
"Hamlet Text and Translation." eNotes. 2012. Web. 15 Nov 2012.
Emily M.
ReplyDelete3.3.1-39 Claudius, Rosencrantz, Guildenstern, Polonius
At this part of the play Claudius is telling Rosencrantz and Guildenstern to take Hamlet to England, after the play Hamlet presented before his family and friends. Polonius then enters and tell Claudius the Hamlet is on his way to his mother’s room, and that Hamlet will be spied on by Polonius. This part shows, yet again, the disrespect Hamlet’s family and friends show him, by going behind his back and making all of these plans to get rid of him, and to set him straight. It seems like every scene Hamlet isn’t in, he is still being brought up, and disrespected. This is clear when Claudius says his first part of speech in the scene, he starts out by saying Hamlet is a threat and that he doesn’t like Hamlet “I like him not”. (iii.iii.1). This is gently worded, it isn’t as straightforward, so it conveys that maybe the feelings of dislike Claudius has for Hamlet aren’t that strong, or that is what he wants it to seem like. Claudius continues on to say that Hamlet is a threat to his estate. “nor stands it safe with us To let his madness range. Therefore prepare you. I your commission will forthwith dispatch, And he to England shall along with you. The terms of our estate may not endure” iii.iii.1-3) Basically Claudius finds Hamlet an unsafe aspect to his Kingdom, and wants Rosencrantz and Guildenstern to prepare for new orders; taking Hamlet to England. ("Hamlet Text and Translation). This part brought suspicion to my mind. Why is Claudius so cautious that Hamlet will ruin his estate? Does he see it as a threat in that Hamlet will actually do harm, or does he see it as a threat in that Hamlet will reveal the King’s secrets, and take his thrown away from him. “the terms of our estate may not endure” seems to be a connotation in the speech. Claudius is saying one thing, but it is really meant to show his selfishness, he is only worried about himself. The actions Claudius previously took part in (killing his brother and marrying his sister-in-law) show his selfishness, and throughout the play he has yet to show himself as a selfless person. Claudius is disrespecting Hamlet by pin-pointing him as a threat to the Kingdom “Hazard so near us as doth hourly grow- Out of his brows.” (iii.iii.6-7) , when all Claudius is doing is trying to get Hamlet away so that his secrets aren’t revealed.
Kacie Q.
ReplyDelete3.2.98-3.2.175
In this passage, the main characters in Hamlet are all sitting down, waiting for the play to begin. The King, Queen, Polonius, Ophelia, and Hamlet are all present, and, as they interact, much is revealed about their characters. While there isn't much action in these lines, they are very important to the whole of the play. It gives a lot more depth to Hamlet's and Ophelia's relationship, and also shows how other characters are reacting around Hamlet, who they all think is mad. For the most part, I got the impression that many of the characters pitied and also feared Hamlet, and were humoring him and his madness.
Right away, the King's greeting of Hamlet struck me as odd. “How fares our cousin Hamlet?” he asks (3.2.98) I noticed here that the King is no longer calling Hamlet his “son.” He's instead creating a bit of distance. By calling him his “cousin,” the King is establishing that, yes, Hamlet is related to him, but they're no longer as close as father and son. This single line reveals a lot about the King's character. When, in the beginning, it was beneficial for him to be close to Hamlet, for him to appear to be almost just like his brother, he called him his “son.” When Hamlet begins to appear mad, he quickly drops this intimacy and calls him his “cousin.”
In the next line, Hamlet also says something in response that I found interesting. He answers the King's question with, “Excellent , I' faith, of the chameleon's dish.” (3.2.99) Shakespeare's decision to use the word “chameleon” reveals a lot about Hamlet's feelings towards his uncle. It seems to me that the fact that the King changed his relation to Hamlet made Hamlet notice just how easily the King could transform depending on the situation. His ability to do this reminded me of a chameleon, and the fact that Hamlet himself references a chameleon in the next line makes me believe that this was Shakespeare's intended purpose.
A few lines later, Hamlet begins speaking to Polonius about Polonius's acting experience at his university. Polonius replies that he had acted as Julius Caesar, who is killed by Brutus. At first, I hadn't paid much notice to this line and was confused on why Shakespeare would include such a seemingly insignificant detail about Polonius. On a second read, however, I realize that this line may be foreshadowing Polonius's future death at Hamlet's hand. Also, the fact that Hamlet next replies that “It was a brute part of him to kill so capital a calf there” (3.2.111-112) caught my attention. When I think of a “calf,” I think of an animal that was born to be killed. And the fact that Hamlet compares the calf to the character that Polonius had acted as makes me wonder if this was a deliberate reference. Although Polonius is an interesting character on his own, I feel that his main purpose in the play is to be killed by Hamlet. Hamlet's murder seems that it will create a domino effect of terrible happenings, and it makes me think that Polonius is in the play solely for this purpose.
In line 115, the Queen also greets Hamlet in an interesting way when inviting him to sit next to her by calling him “my dear Hamlet.” (3.2.115) This line creates an interesting contrast between the King and the Queen. While the King is willing to distance himself from Hamlet when Hamlet starts acting crazy, the Queen continues to treat him like her son. In just those three words, I began to doubt Hamlet and his disdain towards his mother. It made me think that there was much more to the Queen than I had originally thought. Ever though she seemed to have chosen Claudius over her son, it's not clear that she does honestly care for Hamlet.
DeleteA little further on in the passage, Hamlet says to Ophelia, “Nay, then, let the devil wear black, for I'll have a suit of sables.” (3.2. 137-138) This line reminded me of the beginning of the play, when Hamlet was being criticized for wearing mourning clothes. It makes me think that the fact that he is saying the the devil wears black is a reference to himself. I think that at this point in the play, he is already planning on killing the King, unless his reaction to the play could convince Hamlet otherwise. It shows how low Hamlet thinks of himself, and now it seems that he even thinks of himself as evil.
Another line that struck me as important was when, during his conversation with Ophelia, Hamlet says, “He must build churches, then, or else shall he suffer not thinking on.” (3.2. 141-142) This makes me feel that Hamlet is thinking about his father's death and, in contrast, how his own death would be. Already, from his soliloquy, readers know that Hamlet thinks a lot about death and consciousness. At this point in the play, Hamlet and Ophelia are discussing King Hamlet's death. Hamlet calls his father a “great man” (3.2.140) and states that he will be remembered for it. I felt, at this point, that Hamlet was comparing all the good deeds his father had done, idolizing him in a way, to his own life, which he feels is comparatively insignificant.
In lines 158-160, the is a lot of alliteration from Hamlet. “Marry, this is miching mallecho. It means mischief.” It emphasizes the point that Hamlet is either acting mad or truly mad, and makes the line stand out from the rest.
The prologue of the play also caught my attention. “For us and for our tragedy, / Here stooping to your clemency, / We beg your hearing patiently.” (3.2.170-172) I remembered, while reading these lines, that Hamlet was originally performed on stage. At this point, it might almost appear to viewers that the prologue was meant for them, not for the actors on the stage. Hamlet is a tragedy, after all. The play itself might be giving readers a tip-off at this point.
The last exchange between Ophelia and Hamlet was also interesting. “Hamlet: Is this a prologue or the posy of a ring?/ Ophelia: 'Tis brief, my lord. / Hamlet: As woman's love.” (3.2.173-175) I feel that Hamlet's response has a double meaning to it. At first, I figured that he was talking about his mother, who has seemed to have chosen the Claudius over Hamlet. On a second read, though, I thought that maybe he was also referencing Ophelia. I wondered if maybe Hamlet had known that Ophelia had gone to her father about Hamlet's apparent madness. If he did know, this would seem like a huge betrayal in his eyes. It makes it seem that all of them women in Hamlet's life have stopped loving him completely.
While this scene doesn't move the plot forward very much, I felt that it was very important towards the whole of the play. It reveals much about characters and foreshadows the tragedy that is to come.
Next is Guildenstern’s response to the King’s request. While having it in the back of my mind that Guildenstern is Hamlet’s friend, I noticed he is disrespectful of Hamlet too, to choose a side, and get rid of his own friend based solely on the King’s reasoning, and not his own. Guildenstern tells the King that getting Hamlet to England would be the holy thing of himself and Rosencrantz to do; “Most holy and religious fear it is” (iii.iii.9) ("Hamlet Text and Translation"). When Guildenstern says this, it dawned on me as a response to authority, which again is a response the authority wants to hear (like every other response to authority). He seems like a suck up at this part, and I think Shakespeare used the aspect of religion to show Guildenstern sucking up. He is also still very naïve to the real reason the King wants Hamlet out of his estate. “To keep those many many bodies safe That live and feed upon your Majesty.” (iii.iii.10-11) The imagery here creates the naïve concept of this dialogue from Guildenstern. “That live and feed upon your Majesty” creates the image that the whole estate, including Guildenstern rely on the King heavily, especially after they just lost a great king. It paints Claudius as a god, who many people look up to and rely on, and simply shows how naïve Guildenstern is.
ReplyDeleteRosencrantz is the next to chime in. The first sentence Rosencrantz says basically says what Guildenstern just said. He says “That spirit upon whose weal depends and rests-the lives of many” (iii.iii.14-15) ;that many lives depend on the King, and his governing/government. (Mowat page163). They are creating a pattern, by basically saying the same thing, “lives of many” is a repeated statement, and it seems as if it is repeated to show that the king doesn’t care about the lies of many, he just cares about his position, power, and keeping his wife. Rosencrantz is prepared to do anything he can to get Hamlet to England “With all the armor and strength of the mind” (iii.iii.13). It seems like he wants to trick Hamlet by using the word mind. This seems like Shakespeare is using irony. Seeing that Hamlet has proven himself to be quite clever, it would make Rosencrantz look like a fool to try to out whit his friend. Again, this shows disrespect for Hamlet, on Rosencrantz’ part, trying to overcome his friends cleverness and wittiness. The next sentence is Rosencrantz basically making the King out to be the glue that holds together the kingdom. Imagery is used to get this point across. When Rosencrantz says “Fix'd on the summit of the highest mount, -To whose huge spokes ten thousand lesser things -Are mortised and adjoin'd;” (iii.iii.18-20) “ten thousand lesser things” are the people of the Kingdom, “Summit of the highest mount is the Kingdom, and “are mortised and adjoin’d” means the glue, referring to the king. Rosencrantz, like Guildenstern, is putting the King on a pedestal, and relying on him, and his choice to have Rosencrantz and Guildenstern send Hamlet to England. Next Rosencrantz is saying the King is not alone, and that he will stand by his side, along with the rest of the many lives of the Kingdom. Never alone-Did the King sigh, but with a general groan.” (iii.iii.22-23) ("Hamlet Text and Translation") Shakespeare seems to be using connotation. He is having Rosencrantz say exactly what the Kings wants him to think, but in reality the King knows that if anybody were to find out of his dirty actions, nobody would groan with his sighs. Foreshadowing?
Next the King is urging the two men to leave and start on their voyage. “Arm you, I pray you, to this speedy voyage; -For we will fetters put upon this fear-Which now goes too free-footed.” (iii.iii.24-26) (Mowat page163) The king wants this to happen and fast, he repeats to the men to be speedy on their voyage. “To this speedy voyage” in this sentence and “I your commission will forthwith dispatch” is the King saying be quick with your duties. I think Shakespeare has Claudius repeat that he wants the two men to be quick because he doesn’t want his secrets to get out, like they almost did during the mousetrap play, replaying the actions the king took to get to where he is presently. The men follow his orders, and agree to be fast. “We will haste us.” (iii.iii.28) ("Hamlet Text and Translation"). They respect his authority and responding to it by obeying it, or at least saying they will obey it.
ReplyDeleteNext to come forward, after Rosencrantz and Guildenstern exit the scene is Polonius, saying that Hamlet is on his way to his mother’s room, and that he will spy on what happens. “Behind the arras I’ll convey myself” (iii.iii.30) ("Hamlet Text and Translation"). At this part there is a change in dramatic structure. Polonius is telling the King of what is going on, and why, rather than the king telling people what is going on and why. When Polonius says “To hear the process. I'll warrant she'll tax him home” (iii.iii.31) he is saying that he will hide to be able to hear what is going on, and hear Hamlet’s mother set him straight. ("Hamlet Text and Translation"). This is a repetition of spying on Hamlet. Again Polonius is planning to spy on Hamlet, and it is always Polonius making these plans, and following through with them. Shakespeare, to me, is making Polonius seem like the crazy one, as opposed to Hamlet, by having him repeatedly spy, and want to spy on Hamlet. Next Polonius pretty much repeats what he just said, that he will hide, and listen to what is happening, because Polonius being Polonius can’t just say something once. He is also sucking up to the king, when he says “And, as you said, and wisely was it said” (iii.iii.33), could he be making himself out to be the good guy, by complimenting the King and getting on his good side? So that whatever happens in Gertrude’s room Polonius will not seem like a rat or a bad person? This seems like a form of foreshadowing as to what will happen in Gertrude’s room, not just between Gertrude and hamlet, but between Gertrude, Hamlet, AND Polonius.
Works Cited
ReplyDeleteMowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
"Hamlet Text and Translation." eNotes. 2012. Web. 15 Nov 2012.
Liz M. - 3.3.40-103
ReplyDeleteAs King Claudius returns from the play that ousted him as a murderer he calls on Rosencrantz and Guildenstern and tells them that Hamlet is insane and needs to be taken to England. As they leave, Polonius enters and lets Claudius know that Hamlet is going to his Mothers private chambers to speak with her where she’ll most likely chastise him severely. Polonius has also agreed to hide in Gertrude’s private chambers to listen to what they’re saying. Once he is gone, Claudius begins to speak of murdering his brother and once he is finished, attempts to pray, something he has been unable to do for a while now. He forces himself to kneel in another fruitless attempt as Hamlet walks in and draws his sword, intent on killing the King. Once he realizes that he may be praying, Claudius will be sent to Heaven if slain whilst doing so. With this in mind he sheathes his sword and comes to the conclusion that he will kill Claudius when he is doing some evil act such as drunk, angry or sleeping with Gertrude. Hamlet leaves, plotting Claudius’ murder as Claudius rises saying he still couldn’t pray.
The first sentence starting in line 40 of Act 3, Scene 3 goes to line 42, beginning with “O, my offense is rank, it smells to heaven; / It hath the primal eldest curse upon’t, / A brother’s murder” Claudius cries out in guilt his offense which extends to heaven, insulting them. The primal eldest curse of a brother’s murder is in reference to the oldest biblical sibling murder, Cain slaying Abel (Mowat 164). Claudius is continuing the references to biblical stories and figures like Hamlet and other characters do. As he continues he states, “Pray can I not, / Though my inclination be as sharp as will” (3.3.42-43). It’s interesting that Claudius uses “will” which he references as guilt on line 44. His guilt and actions that lead to this guilt are his will and wants, where many would argue that your will and wants should be defined by your own or societies morals. He can’t even pray to his God to whom he wishes to give up his guilt even though he wishes to just as much as his will. But he says, “My stronger guilt defeats my strong intent, / And, like a man to double business bound, / I stand in pause where I shall first begin/ And both neglect” (3.3.44-47) saying his guilt is stronger than his intentions, and like someone connected to two different businesses, he can’t figure out which one to begin working on and they both lie in neglect. The analogy connecting two separate businesses brings up a depiction of capitalism. Two opposing businesses, which may be controlled by the same person, are set for one or both to fail with no help from outside forces. With no outside help from heaven or his wife, both will fail. But from forgiveness from heaven, Claudius will have fulfilled his strong intentions and finally subdue his guilt which threatens to overwhelm him.
Claudius continues questioning his own body saying, “What if this cursed hand / Were thicker than itself with brother’s blood?” (3.3.57-58) speaking of his brother’s blood being on his hands and then going on in lines 49-50 to say there must be enough forgiveness in the heaven he attempts to pray to wash away the blood from his hands and make them white as snow. Claudius is boiling in the guilt within himself, crying out to the heavens and god to relieve him of the burden he carries but he finds he can’t pray and begins questioning the power of heaven itself, saying “Whereto serves mercy / But to confront the visage of offense?” (3.3.50-51) saying what’s the point of mercy except for a release from condemnation, something Claudius desires with all his heart (Mowat 164). This questioning presents a shift in his tone in which he could dramatically be presented as shouting or whimpering as compared to the beginning which could be portrayed strong and defiant. He continues this line of interrogation saying, “And what’s in prayer but this twofold force, / to be forestalled ere we come to fall, / Or being down?” (3.3.52-54) with the two fold force coming from a prayer spoken by Jesus in the Bible, including not bring “led into temptation” and to be “forgiven our trespasses” once again references the Bible(Mowat 164). Claudius, even though he pursues some of the most horrid crimes within the play is he is also the most devout.
DeleteClaudius continues looking about, saying that his sin is behind him but what kind of prayer can he look to other then “Forgive me my foul murder” (3.3.55-56). This obviously won’t work for him, which he admits himself saying that he loves what he gained from his murder including the queen and crown. This soliloquy offers the reader and the audience a rare insight into of Claudius mindset, something Hamlet comments on later about how Claudius praying shows what a poor state his soul must be in. But Claudius referencing the queen as one of his prizes and unrelinquishable shows the love he shows and that she wasn’t just an addition to being King. She was one of the envied.
Claudius of course wants to retain these things while still being pardoned by heaven. He speaks of the corrupted ways of the world and that “Offense’s gilded hand may shove by justice, / And oft ‘tis seen the wicked prize itself / Buys out the law” (3.3.62-64). The gilded hand of the offense being the hand of the criminal or offender, gilded by the money and spoils he gained illegally (Mowat 164) which gets past justice but he rectifies the gilded hand saying that this is not the way in heaven that tries to bribe them. Shakespeare references hands again like he did as Claudius stared at his own asking if heaven could wipe away his brothers blood that soaked it. The same hand is gilded in the gold he got for slaying his brother. Imagery suggests a golden hand, soaked in the blood of a slain sibling. For the next few lines, Claudius mourns the fact that his gilded hand will not help when he goes to heaven and there is no evasion of his sins and the sin is laid out before God and heaven and “In his true nature, and we ourselves compelled, / Even to the teeth and forehead of our faults/ To give in evidence” (3.3.66-68). Neither will the blood that soaks it. Basically saying that the judgment of Claudius’ would be in accordance with only the truth, even to the extent of being forced to testify against himself (Mowat 166).
He continues to bemoan about his predicament as he cries out saying he wishes so much to repent but “Yet what can it, when one cannot repent?” (3.3.70). He ends his soliloquy forcing himself to pray, “Bow, stubborn knees, and heart with strings of steel / Be soft as sinews of the newborn babe. / All may be well” (3.3.74-76). Shakespeare references babies sinews as the most pious and pliable to their own sins. The suggesting of children as the most pious appears to reflect the idea of childhood innocence.
Then Hamlet enters intent on the death of Claudius and revenge of his father. Saying he’ll “do it” (3.3.77) as he draws his sword. Shakespeare offers a shift in sentence syntax with the entrance of the insane Hamlet. Repetitive and over explanatory, Hamlet tends to state the obvious. But, what may be obvious to us now as we read it, the people back in Elizabethan England who would be unable to hear a majority of what was being said the impending doom of the antagonist would be important to them. “And so he goes to heaven” (3.3.79) implying the imminent death of Claudius at the hands of Hamlet. But Hamlet also considers the fact that he would also finally be avenged. While Hamlet says “That would be scanned: / A villain kills my father, and for that, / I, his sole son, so this same villain send / To heaven” (3.3.80-83) he is verbalizing his thought process and internal debate on whether or not to kill uncle and King. He even goes as far as to say Claudius would pay him to kill him just so he could go to heaven instead of earning his way in. Hamlet pursues this thought comparing Claudius and his crimes to May, a time flush and fulfilled and the way his crimes stand, who knows but heaven. He even connects with Claudius saying, “But in our circumstance and course of thought / ‘Tis heavy with him” (3.3.88-89) using “our” instead of “his” circumstances and courses of thought. Hamlet realizes that if Claudius if praying that his sins must be in a serious condition and preparing for entering heaven (Mowat 166). Something Hamlet doesn’t want. Hamlet wishes not just for temporary revenge but for an eternity of suffering for the man that ruined his life. He then sheathes his sword saying “Up sword, and know thou a more horrid hent” (3.3.93) meaning wait for a more horrible occasion to fall upon Claudius and he continues to name such occasions such as drunk, angry, sleeping with Gertrude in their bed or something of that sort.
DeleteThen he describes with fantastic imagery how Claudius will fall to hell saying, “Then trip him, that his heels may kick at heaven, / And that his soul may be as damned and black / as hell, whereto it goes. My mother stays. / This physic but prolongs thy sickly days” (3.3.98-101). Claudius’ relief (physic) only shortly prolongs his sick days full of futile prayers and a slowly approaching hell that he will fall to. But Hamlets mother waits for him and so he must leave, allowing Claudius to stand again saying, “My words fly up, my thoughts remain below; / Words without thoughts never to heaven go” (3.3.102-103) essentially saying he may say the right words as he prays but he means none of it. His words that carry no weight or thought will never reach heaven. Shakespeare’s description of heartless prayers are excellent, inciting images of words pointlessly trying to scramble up into the skies only to fail.
Works Cited
Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
Bethany G.
ReplyDelete3.4, 41-116
Act 3, scene 4 is a dialogue between Hamlet, and his mother, the queen. The lines 41-116 takes place right after Hamlet kills Polonius. The conversation is overall, Hamlet criticizing his mother. In the lines 41-46, Hamlet tells his mother to stop worrying about Polonius. He says, “…And let me wring your heart…” (3.4, 43); Hamlet wants to get the truth from the queen; but, he says he can’t reach her heart, because it’s guarded and wonders if it’s “made of penetrable stuff” (3.4, 44). Which, is saying that – is he able to get through to his mother, because her heart seems to be protected by an almost tangible guard.
When the queen talks next, she asks Hamlet why he speaks to his mother in such a “rude” (3.4, 48) tone. Hamlet then goes on to say that what his mother did – marrying Claudius straightly after the king – was a hypocritical move. He thinks that his mother never actually loved his father, but always had an infatuation for Claudius, and that’s why she married him right when she had the chance. He thinks that marriage vows were false and that the queen was lying then entire time she was married to the king. The queen then asks why Hamlet is saying all of this, in the lines, “Ay me, what act That roars so loud and thunders in the index?” (3.4, 61-62).
Consequently, Hamlet seems to go on a rant. He tries to explain to his mother that, his father used to be like a god. He compares him to Hyperion, and refers to his deceased father in the utmost respect. “See what grace was seated on this brow, Hyperion’s curls…” (3.4, 65-66). In lines, 73-77, Hamlet goes on to condemn Claudius. He says, “Look you now what follows. Here is your husband, like a mildewed ear… Have you eyes?” (3.4, 74-75). Hamlet is telling his mother that Claudius is nothing compared to her former husband; and wonders why she doesn’t realize it, when he asks, “have you eyes?” a couple of times during this certain passage.
In the next lines, Hamlet says that the queen is too old to still have such a lust for someone. He says her “blood is tame…” (3.4, 79); there is no fiery passion left, so what she and Claudius have is just a façade, an act, because there must be a covert plan. She couldn’t go from someone so respected and god-like as Hamlet’s father, to someone like Claudius. Hamlet says that his mother, even though she has done some pointless things, must have sense, because she came up with such a plan. Hamlet then asks his mother, what possessed her to do such things? What is she doing, or planning to do? Was she tricked into it? Towards the end of Hamlet’s rant, he’s wondering why his mother isn’t ashamed of what she’s doing.
The queen, by the end of the section, may be starting to agree with Hamlet, especially in the line, “Thou turn’st my eyes into my (very) soul…” (3.4, 100). Perhaps, she is starting to see what Hamlet is seeing. She doesn’t want to hear anymore, because she probably fears that her son knows what’s going on. The last lines of the piece, Hamlet continues his blaming and jabbing towards the king and his mother, but is cut off by the entering of the ghost.
Overall, the entire section of the dialogue between Hamlet and his mother, is plainly the accusing and questioning of his mother’s innocence and Claudius’ motives.
Works Cited:
Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
Olivia P.
ReplyDeleteExplicate 3.2.176 to 3.2.296
In this scene I am about to explicate, the prologue has just ended, and the play is about to begin. Hamlet is seated next to Ophelia, and Claudius and Gertrude are side by side. Before the prologue, in act 3 scene 2, Hamlet and Ophelia exchange words, and the pantomime show begins. The actors play their roles, and it leaves Claudius feeling sick, and on his way out of the theater.
The king is the first to speak in the play, and the first sentence that comes out of his mouth is, “Full thirty times hath Phoebus’ cart gone round/Neptune’s salt wash and Tellus’ orbed ground,/And thirty dozen moons with borrowed sheen/Since love our hearts and Hymen did our hands/Unite commutual in most sacred bands.” 3.2.176-181. In this stanza Player King takes on, he is acting as if playing King Hamlet, professing his love for Lady Gertrude. He explains the two have been married for thirty years, long enough to see Phoebus’ cart go around the earth thirty times, along with 360 moons that have circled the earth 360 times, all due to the love in their heart, held together by holy bands of matrimony. In response, Player Queen tells Player King “Now, what my love is, proof hath made you know;/And as my love is sized, my fear is so./Where love is great, the littlest doubts are fear;/Where little fears grow great, great love grows there.” 3.2.190-194 Meaning that her love for Player King is equal to Player King’s love for her, and just because she worries about how gloomy he has recently been, he should not doubt her love, because “Where little fears grow great, great love grows there.” 3.2.194
As the dialogue goes on, Player King announces to Player Queen that his bones are growing week, and he will eventually pass away; but suggests that she might find another husband. To that suggestion, Play Queen responds, “Oh, confound the rest! /Such love must needs be treason in my breast. /In second husband let me be accursed! /None wed the second but who killed the first.” This passage is extremely significant to the play, due to its content. The Player Queen is suggests how Queen Gertrude was before King Hamlet was murdered; absolutely head over heels in love, but her actions have so quickly been flipped, and she clearly has not stuck to her word. By Shakespeare putting Lady Gertrude in the predicament, it has the audience questioning Gertrude’s love. How could she love so passionately for Hamlet, but remarry before the tears on her cheeks dried?
As the play goes further into detail, Player King delivers a long soliloquy of him telling Player Queen not to be so certain on her current statements, just as Lady Gertrude wasn't. “I do believe you think what now you speak; /But what we do determine oft we break. /Purpose is but the slave to memory, /Of violent birth, but poor validity; /Which now, like fruit unripe, sticks on the tree, /But fall unshaken when they mellow be. /Most necessary 'tis that we forget /To pay ourselves what to ourselves is debt. /What to ourselves in passion we propose, The passion ending, doth the purpose lose.” 3.2.209-217. Player King uses similes to convey his point, that when the love is gone between Player Queen and himself, the promises will be forgotten, and she will move on, just as Queen Gertrude did. The play is an allusion to the mess Queen Gertrude and King Claudius have made, but neither character seems to take on the hint, that Hamlet set up the play, for the two to see their faults. “The lady doth protest too much, methinks.”-Queen 3.2.254 “O, but she’ll keep her word.” -Hamlet 3.2.255 “Have you heard the argument? Is there no offense in ‘t?”-King Claudius 3.2.256-257. It conveys here, that they do not take into consideration that the play has to do with their reality, and the hardships Hamlet is facing.
Lastly, the King’s nephew enters the play (Lucianus) and performs the murder. “Thoughts black, hands apt, drugs fit, and time agreeing;/ Confederate season, else no creature seeing;/ Thou mixture rank, of midnight weeds collected,/With Hecate's ban thrice blasted, thrice infected,/ Thy natural magic and dire property/On wholesome life usurp immediately.” 3.2.280-285 *Pours poison into ear.* Immediately King Claudius rises with guilt, and storms out of the theater feeling uneasy, with a hint of guilt. This passage is extremely significant to the play, because if King Claudius didn't squirm when watching the play, it would mean that Hamlet was crazy, and the ghost was a liar. Because King Claudius threw a fit, it announced that the ghost truly is Hamlet’s father, and King Claudius is the reason for King Hamlet’s death. Now Hamlet has found justice, and knows how to go about his actions in the future, with seeking revenge on King Claudius.
ReplyDeleteWorks Cited: Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009. "Hamlet Text and Translation." eNotes. 2012. Web. 1 Nov 2012.
ReplyDeleteZach S
ReplyDelete3.1.161-202
In this segment, Hamlet is giving a slight explanation of his plans to Ophelia. In addition to this, Ophelia laments over Hamlet's madness and Claudius and Polonius discuss whether or not Hamlet is just in love or if there is another problem. When Hamlet gives his vague explanation to Ophelia, he states "Those that are married already,/ all but one, shall live. The rest shall keep as they are." (3.1.160-161) meaning that there will be no more marriage and all that are married may stay married and alive. Except for one, Claudius. When Ophelia laments over Hamlet's madness, she says "O woe is me/ T' have seen what I have seen, see what I see!" (3.1.174-175) meaning that she wishes to have never seen her love in such a state. Shortly after that, Claudius and Polonius walk in. Claudius makes the assertion that he does not believe that it is love that has made Hamlet so. Polonius advises not to let the madness continue further and send his nephew away to England. Claudius agrees to this. This dialogue is important in that it outlines how major players in Hamlet's life are reacting to his state of mind. Hamlet's small part of this segment makes reference to the future when he will enact his plan. The conversation between Polonius and Claudius is in reference to the future in which the King sends his nephew to England. Altogether this segment is meant to look to the future of the play and how events will fall into place.
Works Cited
Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
Katie M.
ReplyDelete3.4.1-40
The scene first starts off with Polonius and the Queen talking. "Tell him his pranks have been too broad to bear with/ And that your Grace hath screened and stood/ between/ Much heat and him." (3.4.2-6)Here, Polonius is basically telling the Queen to yell at Hamlet; tell him he has gone to far and what he has done has brought a lot of anger upon herself. The fact that Polonius refers to the situation as a "prank", brings into the fact he doesn't believe or want to believe what was just witnessed in the play. As the Queen is agreeing to the words coming from Polonius, Hamlet arrives and Polonius runs and hides in the room. He stays in the room to spy, but to spy on what?
Hamlet and his mother start talking about what is bothering her; basically to get the reason why he was told to meet with his mother. The Queen says, "Hamlet, thou hast thy father much offended." (3.4.11)Then Hamlet responds by saying, "Mother, you have my father much offended." (3.4.12)The Queen comes right out and tells Hamlet he has offended his father, and it was wrong of him to do so. Instead of arguing with her he deals the cards a different way and turns the situation right back at her. He basically blames what happened on her; she was the one who offended Hamlet's father, not him. Once he answers her with that type of remark, the Queen just goes at it again. She yells at him and tells him not to be smart with her, and of course he turns around and says the same thing. Shakespeare uses controversy to bring in tension and question to who is right. Once someone says something the other turns around saying the same thing, but in different words. This causes stress on both that characters and reader by adding in a tricky scenario, which ends up with the question of who has the right to be feeling the way they do? The way Hamlet is responding to his mother, angers her very much so. "Have you forgot me?" (3.4.18) The Queen questions her authority towards Hamlet; as in if he forgot who he was talking to, he should respect his mother. Hamlet responds with, "No, by the rood, not so./ You are the Queen, your husband's brother's wife,/ And (would it were not so) you are my mother." Hamlet is clearly upset now. He admits yes, she is his mother but he wishes it wasn't so.
She is married to her husband's brother, and Hamlet now admits he is very unhappy about. Hamlet is beginning to take charge. He orders his mother to sit not and not move at all. "You go not till I set you up a glass/ Where you may see the (inmost) part of you." Right here Hamlet is wanting to show his mother what she has become, what her insides now resemble. Shakespeare uses the connection with the mirror to explain the formality easier, and to better explain Hamlet's meaning. The Queen takes what Hamlet is saying the wrong way, and screams out her prediction that he will murder her. Right on time, Polonius jumps out from behind the arras and attempts to help the Queen. "How now, a rat?Dead for a ducat, dead." (3.4.29) Hamlet was fast on his feet and didn't even take the chance to look at who it was, and killed Polonius just like that with his rapier. The Queen is beside herself, and asks Hamlet what he has done. "Nay, I know not. Is it the King?" (3.4.32) Hamlet clearly did not mean to kill Polonius, since he was after the king. Shakespeare used this line to express how fast Hamlet would have acted upon the death of the King. It shows how eager Hamlet was to get it over with, since he didn't even take a second to make sure it was the king. The Queen is sitting there over the top, freaking out, because of what she just witnessed. "A bloody deed-almost as bad, good mother,/ As kill a king and marry with his brother." (3.4.34) Hamlet takes his mother's reaction personally. Hamlet is beyond upset, and lets go of the murder of the king. He compares what he just did too the murder of the king, and her remarriage to the brother; but the other situation is a lot worse. When he brings up the fact about murder, the Queen becomes very confused. Hamlet tells her it is the truth and what she just heard him say is what happened. He then grabs Polonius's body, and starts dragging him out. On his way Hamlet says Polonius deserves every bit of what just happened to him, because he was too busy spying in on someone else's business.
ReplyDeleteHope W.
ReplyDelete3.1.99-160 Hamlet and Ophelia after the "To be or not to be" speech
Hamlet has just finished pondering his thoughts in his soliloquy in 3.1, the famous “to be or not to be” speech. Ophelia finds him and attempts to be brief in returning anything that Hamlet ever gave her, but Hamlet makes snippy comments towards her and is just rude in general. Hamlet seems to be acting as a child when the trinkets and letters are returned to him, he says he never loved Ophelia anyway and that she was a fool to think that way “You should not have believed me, for virtue cannot so our old stock but we shall relish of it. I loved you not.” (3.1.127). Unbeknownst to Hamlet they are being spied on throughout the whole argument/conversation by Polonius and Claudius. This spying enhances the characterization of both Claudius and Polonius, showing that they both are spies and sneaks who feel the need to know everything about anything that is happening in the kingdom especially if it has to do with Hamlet.
Ophelia trying to make giving back all of the love letters, trinkets, and other gifts that Hamlet has given her since they started dating as painless and short as possible says “My, Lord I have remembrances of yours That I have longed long to redeliver. I pray you now receive them.” (3.1.102). She begins by saying “My, Lord” she does this several times over the course of the conversation and throughout they play, this gives a sense of respect for Hamlet (and possibly men in general) as someone of a higher rank than her, unequal. Hamlet gives a quick reply, trying to convince her that he never gave her anything. However Ophelia persists making sure that Hamlet takes the items, “My Honored Lord, you know right well you did,…..Take these again, for to the noble mind rich gifts wax poor when givers prove unkind.” (3.1.106&111). These words are harsh but they are well deserved on Hamlets part, he is being arrogant and acting as if Ophelia is nothing to him, and unworthy of his time, the statement that “rich gifts wax poor when givers prove unkind.” Is effective and has a lasting effect on the audience, this is because it is so truthful if the person that gave you a gift, something that means a lot to you, if they become mean or unworthy of your love as Hamlet has become the gift means very little and becomes just another object.
After Ophelia forces the objects upon Hamlet he becomes aggravated and assaults her with his words taking back any love that once was and saying that everything he told her of his love was all a lie, “You should not have believed me, for virtue cannot so our old stock but we shall relish of it. I loved you not.” (3.1.127). Hamlet means to say is that Ophelia was stupid to believe that he truly loved her, and that with her stupidity she will be hurt even after giving back any memories of him because her love was in fact real and heartbreak takes time to heal. Hamlet says so coldly “I loved you not” making it seem as if he had planned out this entire conversation just to hurt her as much as possible and to what end? He goes on and on harassing her with more and more of these insults, and she just stands there and takes it, because that what is expected of woman to be seen and not heard. On example of these insults would be “Get thee to a nunnery. Why wouldst thou be a breeder of sinners? I am myself indifferent honest,” Hamlet is telling Ophelia that she should become a nun so that she cannot produce children who would become sinners, or as stupid and reckless as she is. Then immediately after he says this insult without even giving time for it to sink in he tells her that he is “indifferent honest” meaning that he is much smarter than her, better than her in every way. At the end of his rant of insults he asks simply and clearly “Where’s your father?” (3.1.141). Hamlet is trying to be sure that he is not being his sneaking snake of himself, when Ophelia says her father is at home he lets out this insulting comment, “Let the doors shut upon him that he may play the fool nowhere but in’s own house.” Which reinforces his opinions that Ophelia’s fathers is not to be trusted, and that he should not be trusted, that he should not mess with anyone outside of his own home, which does not include Ophelia.
ReplyDeleteAs Hamlet is leaving he decides to add one last insult to the pile he has already created by saying “if thou wilt needs marry, marry a fool, for wise men know well enough what monsters you make of them.” This is not an insult not only meant for Ophelia but all women, he says “what monster you make of them” making the impression that women drive men crazy and turn them into something they’re not and only a fool would marry a women who has a reputation of doing just that. In Hamlet final protest of the argument he irrationally says “I say we have no more marriage. Those that are married ready, all but one, shall live.” Hamlet is obviously outraged at Ophelia, love, and women he proclaims that marriage should be abolished, I believe that this is caused by the grief he feels for losing Ophelia and that no one should have to be married to women who inevitable drive all men insane. But the most important part of this statement is “all but one, shall live” the one he is talking about is his mother and Claudius’s marriage as he plans to kill Claudius to seek revenge on his father’s death.
Kirsten S.
ReplyDelete4.3
Prior to this scene, Hamlet has murdered Polonius, and dragged him away, hiding his body. Guildenstern was then sent by Claudius to find Hamlet, as well as Polonius'' body. Plans have been arranged to send Hamlet to England. Parts of this scene are tense, especially the exchanges between Claudius and Hamlet. Though the things Hamlet says in response are actually quite funny and are jabs at Claudius.
The scene begins with the King talking to a few people on stage, making known to everyone what he has done. And that is he has sent Guildenstern to find Hamlet and Polonius' body for he fears it is a danger to have Hamlet be out and free to do what he wants, though he knows enforcing rules on him might not do much. He's loved by Denmark, for they only like what they see, and punishment is important, though not the offense of which it is needed for. Claudius says that though he is sending Hamlet away, it seems like he has had it all planned out. For desperate times call for desperate measures. Rosencrantz then enters to tell Claudius that Hamlet will not tell anyone where he has hidden the body of Polonius.
When Hamlet enters the stage he makes the remark that Polonius is at supper. Alluding to the fact that he is dead, he is being eaten by maggots. The imagery I get from this part of the scene is quite disturbing. I picture Polonius laying on a dinner table being eaten by maggots. It's definitely uncomfortable, and I wonder if Hamlet said it that way to portray is present opinion on death. For previously he always said he wanted to die, though changed his mind. He says that we make other people happy (fatten) to make us happy, but when we make ourselves happy, its for the maggots. Instead of the word 'happy' Shakespeare used 'fatten.' It plays in with the comparison of death and supper. He compares the king to a beggar, and that they are the same at death. Hamlet is trying to downgrade Claudius' title of king, continuously saying he is no better than anyone else.
Claudius tells Hamlet of his plans to send him to England, and that everything is ready for his departure. He tells his mother goodbye, and Claudius is taken aback that he did not say the same to his father. Hamlet made it clear that he does not consider Claudius his father, and again in this scene. He says that mother and father are man and wife, and when married, a man and a wife become one flesh, so therefore he isn't his father, for Hamlet isn't from his flesh. The words 'one flesh' is almost solidifying something. There is one flesh, there cannot be another. Hamlet believes the marriage between his mother and Claudius has tainted that one flesh, completely ruined it.
Claudius closes the scene by basically saying Hamlet is going to be killed in England, and he won't be able to enjoy himself until that happens.
Death is a constant reoccurring theme in this play. Shakespeare uses certain words to convey this like 'maggots' and 'supper.' This scene revealed that more death is to come, as well as that Hamlet cannot escape Claudius or his previous wish for death.
Works Cited
Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009. "Hamlet Text and Translation."
"Hamlet Text and Translation"
Diana D.
ReplyDelete3.2.418-3.2.432
With “The Mousetrap” performed and Claudius having fled from the room, Hamlet believes he has all the evidence he needs to prove his uncle’s guilt. In the previous scene, Polonius suggested that Gertrude should speak with Hamlet after the performance and that he should ease drop on their conversation. After the performance, Rosencrantz and Guildenstern arrive and inform Hamlet of his mother’s desire to speak with him. When Polonius arrives to escort him to Gertrude, Hamlet sends him off saying he “will come by and by.” (3.2.414-415) Now alone, Hamlet informs the audience of how he will address his mother during their conversation.
Hamlet starts his mini soliloquy by saying that it was “the very witching time of night.” (3.2.419) Hamlet is most likely referring to the witching hour, the time when black magic was believed to be most powerful. The fear of black magic was especially strong in the period Hamlet was written, which was around the peak of European witch hunts. Because of this the audience would understand that by claiming it to be the witching hour, Hamlet was saying it was the perfect time for something horrible to happen. Since Shakespeare began the next part of this sentence with the word “when”, the next part was meant to clarify what the witching time was. The meaning of the next phrase, “churchyards yawn” (3.2.420), can be lost on some modern audiences. While not always the case, most churchyards were used as cemeteries. As more modern churches do not have the large churchyards able to fit dozens of coffins and gravestones, some people would not be away that churchyards doubled as graveyards. While yawning can be associated with drowsiness, Shakespeare uses it to alluded to waking up. As such, the phrase refers to a cemetery “waking up”, or in more modern terms, zombies rising from their graves. For those who this phrase was lost on, the phrase “hell itself breathes out contagion to this world” (3.2.420-422) was Shakespeare’s final way of describing just how much the scene was set for something horrible to happen. By using the word “breathes” (3.2.420), Shakespeare alludes to hell being a living entity. This idea of hell being alive goes with the use of the phrase “breathes out contagion” (3.2.420-422), which is synonymous to “spreading disease”. This image of hell being diseased creates this comparisons between sins and illness, which makes the image even more creepy when you take into account the phrase “to this world.”
The next sentence focused on how Hamlet seems to be inspired by the “witching time” (3.2.419) to take action. Hamlet continues his morbid imagery by stating he “could drink hot blood.” (3.2.422-423) As hot blood is associated with anger, this phrase alludes to Hamlet possibly inspired to act by strong emotions. The word “drink” (3.2.422) hints towards these strong emotions not originating from Hamlet himself, meaning that Hamlet is inspired more by the actions and emotions of others. As doing “bitter business as the day would quake to look on” (3.2.424-425) refers to doing something rather horrendous, this sentence could possible be Hamlet trying to rationalize his actions as not entirely being his own.
Diana D.
Delete3.2.418-3.2.432
The next part of the mini soliloquy focuses on how Hamlet plans to address Gertrude during his confrontation. Hamlet’s next sentence marks the point where he begins to tell himself how to behave around his mother, like he is ordering himself to behave. The use of the word “soft” (3.2.425), which here means something along the line of “listen”, is an indicator that Hamlet is not simply going over his strategy. We know he was directing these instructions to himself because of his exclamation of “O heart.” (3.2.426) From the phrase “lose not thy nature; let not ever the soul of Nero enter this firm bosom” (3.2.426-427) the audience knows that Hamlet does not want to act like Nero, the Roman emperor who killed his mother. ("Hamlet Text and Translation"). This comparison between Nero and Hamlet is even greater due to both being royalty, though the fact Nero was an emperor was left out of the Folger’s edition. (Mowat 160) This also fits with the sentence; “I will speak daggers to her, but use none.” (3.2.429) Hamlet wishes to chastise his mother, but respect the ghost’s desire for her to be spared from the brunt of Hamlet’s revenge. The use of the word dagger also foreshadows Polonius’s fate in Act 3 Scene 4, making Hamlet’s claim that he would not use a dagger somewhat ironic. The sentence “Let me be cruel, not unnatural.” (3.2.428) also refers to how Hamlet wants to be reasonable with his treatment of his mother.
This idea of Hamlet refusing to harm his mother is best seen in the last sentence of the scene. Hamlet’s “tongue and soul in this be hypocrites” (3.2.430), meaning that his towards his mother physical actions will not mirror what he is saying to her. This idea is further explained in the phrase “How in my words somever she be shent, to give them seals never, my soul, consent.” (3.2.431-432) This means no matter what Hamlet said to Gertrude, he would never actually try to punished her physically. ("Hamlet Text and Translation"). Hamlet’s refusal to harm his mother plays at the theme of women being weak and needing protection present in the play.
Works Cited
Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
"Hamlet Text and Translation." eNotes. 2012. Web. 15 Nov 2012.
Jordan W.
ReplyDelete3.1.99-160
Hamlet has just ended his soliloquy about what is best for him; to live with everything he has been born with, or "take arms against a sea of troubles"- basically suicide. Hamlet makes a quick haste to end his speech when he sees Ophelia coming to speak to him. Ophelia starts off very smoothly, merely asking how Hamlet is, to which he replies that he is well. Ophelia then basically sticks the dagger into Hamlet's chest by saying that she has mementos for him that need to be given back. Oddly enough, though, Hamlet says that he never gave her anything. Ophelia is fairly kind when speaking to Hamlet. She speaks softly, but to the point which just makes Hamlet get even sassier with her. In lines 106- 112, Ophelia says that yes, Hamlet did give her the letters, which meant so much to her at one time, but not anymore. She has a beautiful rhyming couplet towards the end of the speech, "Take these again, for to the noble mind rich gifts wax poor when givers prove unkind"(3.1.110-111). Ophelia is telling Hamlet that when he gave the love letters to her they were beautiful and she cherished them greatly, but now that she realizes that Hamlet is mean the mean nothing. The word "perfume" (3.1.108) was used to describe how the letters once were beautiful to her, but now it is all gone; the perfume has worn off, as has their love.
Hamlet acts so incredulous in the next line saying "Ha, ha, are you honest?" (3.1.113).Rudely he asks Ophelia if she is joking about what she just said. Naturally, Ophelia is confused and asks what Hamlet is saying, to which he replies even more cryptically "Are you fair?"(3.1.115). A statement which has nothing to do with what Ophelia just told him. He is asking if she is beautiful, but he does it so completely out of the blue that it seems as if Hamlet is going crazy... again. Proceeding with this idea of beauty, Hamlet says to Ophelia that if she is honest and beautiful that the two traits will not "discourse"(3.1.117), or converse with one another (Mowat 131). Ophelia very nearly overlooks Hamlet's rude tone, but questions him on whether beauty could possibly be better than honesty. The word "commerce" (3.1.119)is used by Ophelia bringing the reader back to Hamlet's previous statement about the traits "discoursing" (3.1.117) together. The analogy about traits actually being people is brought out in the imagery of Shakespeare's careful words.
Giving up all pretenses, Hamlet tells Ophelia that yes, beauty can be something better than honesty because it could change a virtuous person into a "bawd" sooner than honesty could turn someone beautiful. Hamlet is really playing with this image of a person on the outside never honest, and honest on the inside never beautiful outside. Hamlet continues in lines 124-125 saying "This was sometime a paradox, but now the time gives it proof"(3.1.124-125) meaning that Hamlet once was unsure about this theory, but after seeing Ophelia and how beauty has turned her dishonest, it's canon. The last thing Hamlet says is "I did love you once" (3.1.125) and this is by far the most simple thing Hamlet has said throughout the course of this conversation.
As of this far, the conversation seems to be going nowhere, now they both have told each other that they no longer feel the same way as they did when they were in love, but so far they aren't exactly arguing, but they are exchanging hostilities. Coming back from Hamlet's line, Ophelia replies by saying that he made her believe that he loved her, but based on the way the conversation is going she cannot see the love anymore. Hamlet made her "believe" (3.1.126)that he was in love with her. "You should not have believed me" (3.1.127) is Hamlet's reply, and he slowly builds up more steam by comparing a person's virtue to plants, saying that no matter how hard a person tries, they will always be rotten to the core (Mowat 131). "I loved you not" (3.1.129) is Hamlet's final line to Ophelia in this particular speech. Just as the end of line 125, he speaks simply by telling her that he doesn't love her. This final thought is the one that sticks with the reader the longest, and basically seems to sum up everything that Hamlet is saying; it all comes down to the fact that he doesn't love Ophelia. It's strange, though, that he uses the past tense "loved" (3.1.129) when telling Ophelia that he never loved her, but just before Hamlet mentioned that he did love her, but the love is gone now. This idea leads me to believe that Hamlet is just making it all up to make Ophelia feel bad for whatever reason. Perhaps Hamlet is using it as a defense mechanism, by offending Ophelia deeper than she has offended him.
DeleteThe only thing that Ophelia replies to Hamlet's bold statements is that she was fooled by the love she thought he had for her.
To add MORE insult to injury, Hamlet goes on in a short speech saying how Ophelia should put herself into a nunnery so that she never have kids that suffer the same sins as she. Hamlet continues to say that maybe if his mother had done what he is telling Ophelia to do, he wouldn't be the sinful man he is now. This line could be foreshadowing at the fact that Hamlet sins by killing Ophelia's father later on. Just to prove this theory, at the end of the speech, Hamlet asks "Where's your father?" (3.1.141) to which Ophelia replies very shortly with "At home, my lord." (3.1.142)
The next part evades me a bit, where Hamlet says "Let the doors be shut upon him that he may play the fool nowhere but in's own house." (3.1.143-144). This could be Hamlet saying, let your father stay locked in his home unaware of the sins you are committing, or he could be suspicious of her father watching and listening to the conversation they are having, as Hamlet seems to catch him many times doing this.
After the point earlier (3.1.129) when Hamlet told Ophelia for a second time that he never loved her, her responses have become far shorter, perhaps with embarrassment at being treated so poorly by her former lover. Ophelia's next response continues this pattern, where what she says doesn't really matter, it just helps Hamlet move on to insulting her in a new and different way than previously.
DeleteThe imagery that Hamlet uses in his next speech helps to prove the theory that he hates Ophelia and what he believes she has become. He compares the fair woman to snow and ice, being as "chaste as ice" and "pure as snow" (3.1.147-148) but despite this, she will always have a bad reputation if Hamlet has anything to say about it. Hamlet says, "If thou dost marry, I'll give thee this plague for thy dowry." (3.1.146-147) meaning that he will curse her for marrying and ruin her name. Continuing on with this idea of marriage, Hamlet says that Ophelia should marry a dumb man because if she was to marry a "wise" (3.1.150) man, that he would quickly realize what a terrible person Ophelia is on the inside. Hamlet doesn't seem to think that she should, or perhaps could marry, though, as he keeps repeating that she should check herself into a "nunnery" (3.1.149,151)
It doesn't seem as if Ophelia takes any of Hamlet's words truly to heart as she then says "Heavenly powers, restore him!" (3.1.153) meaning that perhaps divine intervention should strike Hamlet to make him stop talking like a crazy man.
Just carrying on and ignoring Ophelia as he normally does, Hamlet goes off on a mini rant about Ophelia applying makeup that just makes her look fake and not of God. This idea is sprung up from his earlier thought that Ophelia is a sinner and should be hated by God, so he carries on about why she is terrible to humanity. Then, Hamlet speaks of this radical idea that those who are married should stay married (except for one couple, whom I am assuming is his mother and uncle/father), while those who are single should remain single for their lifetime. "To a nunnery, go." (3.1.162) for the fourth time in the interactions between Hamlet and Ophelia, he tells he to go to a nunnery, continuing with the fact that God will not accept her because she is a sinner and would only have sinning children.
Work Cited:
DeleteMowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
4.4.1-33 Explication: Fortinbras enters Denmark. Prelude to his fourth soliloquy.
ReplyDeleteIn the top of Act 4 scene 4, Fortinbras lands his ship and army on Denmark soil. For someone on their way to attack a country solely to displace their anger and grief, Fortinbras is surprisingly calm; “Tell him that by his license Fortinbras/Craves the conveyance of a promised march/Over his kingdom.” (4.4.2-4) Fortinbras is very collected when instructing his Captain to get permission from the Denmark King to cross his kingdom, as demonstrated with the phrase “Craves the conveyance”, which is a very polite way to say that he is about to march through Denmark to war with Poland. Though this may be thought of as a peaceful political move, in the context of this book it severely contrasts with Hamlet, who is excited and crazed every time he speaks to someone or asks for a favor. Which in itself happens very little; Hamlet is very paranoid and does not rely on or confide in many people. This is not the only place where we see a parallel between Fortinbras and Hamlet’s reactions towards trauma. Fortinbras again shows his difference from Hamlet “If that his majesty would aught with us/We shall express our duty in his eye” (4.4.5-6) Fortinbras is crossing Denmark as peacefully as he can; if the King would like anything from Norway, he shall have it. In Hamlet’s case, it is doubtful that he would have volunteered to do a favor for anyone.
Fortinbras is in no hurry to get to Poland. He says to the Captain before departing; “Go softly on” (4.4.9) The Folger “Text in Translation” tells us “softly” means “slowly”. Fortinbras tells his Captain to take his time meeting the King. Does he actually care about lifting off any anger from his person anymore? Compared to Hamlet, he is completely devoid of emotion!
After Fortinbras gives his orders to his Captain and exits with his army, Hamlet enters with Rosencrantz and Guildenstern and asks the Captain who he is and what they are doing. To the last question, the Captain responds that they are not going to capture any land rich for profit but a small patch, just to have conquered somewhere. The idea of conquering motivates them. “…with no addition,/We go to gain a little patch of ground/That hath in it no profit but the name.” (4.4.18-20) The Captain even seems skeptical of these plans; “with no addition” (4.4.18) he means that he is not exaggerating in the least. It is just some measly “little patch” of land that they are going after, benefiting neither Norway nor Poland. “To pay five ducats, five, I would not farm it…” (4.4.21) Both sides are selfishly fighting for their pride, causing deaths because one side is displacing anger, and the other side will not give up land rightfully theirs.
Hamlet, too, is hurting many people in his efforts for revenge. Yet he thinks that it is so foolish that these countries are warring over something so simple, it shows how little they know: “Two thousand souls and twenty thousand ducats/Will not debate the question of this straw.” (4.4.24-25) A battle, or a war, is only the beginning of the argument. It will take much more to settle this. Every death will cause someone else pain and will spur revenge and motivation to fight. Animosity will be created towards the opposing side. This one, impulsive move will just be the start. “Straw” may mean something similar of draw; the answer to this draw will not be solved simply with the death of thousands and the cost of thousands of ducats or money. Losing that much is not a simple matter, of course, but it is simple compared to the emotions you will stir up in other people.
How can Hamlet say this, considering his current plan of action; to kill the king no matter the cost? It is virtually the same principal. Hamlet has already killed Polonius, the father of the woman he loves. How much deeper a hole can you dig yourself, Hamlet? Polonius was honestly a very innocent man; he meddled, but he was concerned for Hamlet's well fare when it first dawned on him that Hamlet was probably mad with love. Why did he die? One simple move, and it was over. “…That inward breaks and shows no cause without/Why the man dies” (4.4.27-28). The inward emotions of anger break open and with no reason innocent men die. Hamlet is not thinking about the war Fortinbras is starting, but of the own problems that Hamlet is causing; the terrible deed he has committed. Everything he mentions is so impersonal, as if he is angry that everything is thought of so impersonally; it is simply “Two thousand souls and twenty thousand ducats” (4.4.24-25) that Fortinbras is willing to throw away. It is just an unnamed “man” whose life is thrown away, one of many to be sacrificed in Hamlet’s mission.
DeleteThis brief monologue is really very crucial, for it shows us Hamlet’s true remorse at what he is doing. It shows us that Hamlet cannot be entirely mad; he recognizes the blood spent in his somewhat selfish mission and the blood still to be spent. In this very instant, Hamlet realizes the effects he is causing. The question of whether this realization stays with him or not is another debate.
“Before you embark on a journey of revenge, dig two graves.”-Confucius
"Hamlet." SparkNotes. SparkNotes, 2012. Web. 18 Nov. 2012.
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Cara O.
ReplyDelete3.2.419-432
Hamlet has been left alone to his thoughts after conducting his plans that would confirm his accusations. They seem to have been successful because Claudius reacted dramatically in response to the play. Hamlet spends some time feeling victorious, but Polonius enters and tells him that his mother would like to have a word with him. Hamlet asks that he is left alone, and then proceeds to say this miniature soliloquy. This passage mainly expresses Hamlet’s fury towards his mother, yet also involves some of the other questions that recur through the play. The passage can also help to foreshadow Hamlet’s inevitable anger that he unleashes on his mother in the future conversation.
Hamlet says that it is the time of the night when horrible things happen, and “hell itself breathes out contagion” (3.2.420-421). He expresses his anger by saying that he feels he could do things so terrible they would be scary in the daylight, but he has to follow order and see his mother. He is determined to stay harsh, comparing himself to Nero, a brutal Roman emperor who murdered his mother. Hamlet wishes to be cruel, but wants to remain civilized. He promises not to speak violently, but not act violently upon her. However Hamlet punishes his mother verbally, his soul will not allow him to put action into his words. Hamlet is clearly infuriated, saying “Now I could drink hot blood and do such bitter business as the day would quake to look on.” (3.2.422-424) The reader understands that he is so angry he is capable of committing murder or doing other unthinkable acts. The words “bitter business” (3.2.424) characterize these actions as orderly and casual because they are only slightly distasteful. Bitter taste is unpleasant, but not completely unbearable. Business is work that has to be done, and is routine. Hamlet is boiling in anger, but suddenly says, “Soft, now to my mother,” (3.2.425) as if abruptly remembering who he will be communicating with. Yes, he is furious, but he is dealing with his mother. He must compromise and restrain himself because it is his mother. This line seems to dampen the ruthless anger that builds in Hamlet. It is like being brought back to reality. Hamlet still promises to be as brutal as he can possibly be. Hamlet spends quite a few lines reminding himself that he will not act violently and murder his mother, even though he is thinking of it. “Let me be cruel, not unnatural. I will speak daggers to her, but use none.” (3.2.428-429) Hamlet is establishing self-control. “How in my words somever she be shent, to give them seals never, my sould consent.” (3.2.431-432) This poetic last two lines reflects a vow, or something that could be repeated to one’s self to help remind a person of it’s words. Both lines contain ten syllables, which means they reflect off one another rhythmically. They are a final way of reestablishing the control Hamlet forces himself to have. No matter how much he punishes his mother with his words, his soul will not allow him to deliver them with action. This passage presents Hamlet in a way that seem controlled and well thought out, as well as restrained and logical. The rest of Act 3 Scene 2 depicts Hamlet acting insane comparing himself to an air eating chameleon, or randomly cloud watching. He tends to turn off the insanity when he pleases, and turns it on especially when he is around Polonius. This last passage lacks this foolish insanity, and questions the idea that Hamlet is actually mentally unstable. Hamlet claims earlier that lying is easy and it produces great events when he states, “It is as easy as lying. Govern these ventages with your fingers and thumb, give it breath with your mouth, and it will discourse most eloquent music. Look you, these are the stops.” (3.2.387-390)
In these thirteen lines, Shakespeare manages to further characterize Hamlet, express his hatred and fury towards his mother, question Hamlet’s insanity, and foreshadow an upcoming conversation. Hamlet is fantastic at manipulating others through his actions, and tends to dwell on things that bother him greatly. He is irate about his mother’s decisions. The fact that Hamlet is so thoughtful in this passage makes one wonder if he is truly insane. Finally, the anger represented will most likely transfer into the future scene where Hamlet converses with his mother while harboring these feelings.
ReplyDeleteYazmeen S.
ReplyDeleteAct 4 Scene 4 Lines 1-33
At the beginning of act 4 Fortinbras and his army are crossing Poland at the same time in which Hamlet, Rosencrantz, and Guildenstern are crossing Poland on their way to England. Hamlet and others are on their way to England by Claudius’s order. Since Hamlet killed Polonius Claudius is sending him to England. The only thing is Hamlet is unaware that he is being sent there to face his death. This passage is dramatically significant because Fortinbras’s army wants to march across Hamlet’s kingdom.
Each speech of the passage is significant when analyzing technique and overall importance of the passage. In the first speech by Fortinbras he is telling his Captain to go and meet Hamlet and the people with him about their promise to let him and his army march across their kingdom and in return he will do anything that they wish. Shakespeare chooses to use certain words such as “Craves” (4.4.3) to better explain Fortinbras’s motives. The word shows that Fortinbras really wants to march across their kingdom for his own pleasure. In the following speech by Captain he addresses Fortinbras as “my lord” (4.4.8) showing that he is a lower rank than Fortinbras and must obey his orders. Fortinbras then in return tells him to “Go softly on.” (4.4.9) or in other words to go “slowly” (Mowat 200)
The scene now switches over to Hamlet, the Captain, Rosencrantz, and Guildenstern. Hamlet begins by asking “whose armies are these?” (“Hamlet Text and Translation”) and Captain responds by saying they are Norway’s armies. Hamlet then inquires about why they are there. The Captain then says they are there “Against some part of Poland” (4.4.13). Hamlet continues asking the Captain questions. In the next line he asks who they are commanded by and the Captain responds by saying they are commanded by “The nephew to old Norway, Fortinbras” (4.4.15). Hamlet continues with his curiosity asking whether their army was against the main part of Poland or a smaller piece, or “frontier” (4.4.17). Shakespeare has this part of the text in quick dialogue between two characters that seem to have never met before. Hamlet asks many questions and the captain answers them. By having this part of the text in short dialogues it is easier for the reader to follow and understand better than if it were in fewer long speeches. If it were in longer speeches it most likely would have seemed to drag on. Since this passage is not outstandingly important it was best for Shakespeare to keep it short and sweet.
Hamlet continues to ask questions but now about the land that Fortinbras and his army seek to gain. The Captain then explains to Hamlet the situation they are dealing with with the piece of land telling him “honestly, and with no addition to the facts” (“Hamlet Text and Translation”). He explains that they are going to try and gain a worthless little piece of land for no reason other than its title. It is a bad deal if paid for and the land will not yield to Poland or Norway. Hamlet responds to this information by saying that Poland would never defend it. The Captain counteracts this thought by stating that it already has troops stationed. In response Hamlet sounds confused. He says that neither death nor money will solve this problem and settle who receives the land. Shakespeare chooses to word this speech rather difficultly. Hamlet discusses how this problem is like a sore of wealth and peace that brakes and does not show any damage until someone dies. He seems to be pondering the situation in his head trying to figure out exactly what was going on. This speech is not only difficult to understand because of the language but because of the complicated metaphor as well. Shakespeare creates an image of the problem by using a metaphor. In the reader’s mind a scene of gross destruction is being created. Hamlet finishes this speech by thanking the Captain for the information. The Captain exits by saying “God be wi’ you, sir” (4.4.31). Throughout the dialogue Hamlet and the Captain addressed each other with the term “sir” which added a layer of respect between the two characters. Also the way the Captain said “God be with you” (“Hamlet Text and Translation”) added a layer of formality to their relationship.
ReplyDeleteWith the Captain gone Rosencrantz, who has been there the whole time in silence, gets a chance to speak. He asks Hamlet to please go. Hamlet responds by saying that he will but to go on ahead of him and that he will be coming. This is where Hamlet is now left alone for a little while and able to give a soliloquy in the following lines. Shakespeare purposefully structured this passage in the way he did so that Hamlet would have time alone and was able to give a soliloquy without having to get away from everyone in a way that did not flow very well.
The overall dramatic and thematic significance of the passage was to gain information about Fortinbras and his army as well as show how Hamlet responds to other people. Hamlet is thought to be mad by almost everyone in the play but while talking to the Captain he seemed to be fine. He was carrying on a discussion asking valid questions and never once said anything rude or disturbing as one might have predicted him to do. Also this passage helped to foreshadow what might happen next in the play. There is a possibility of Fortinbras and his army going to Hamlet’s kingdom in Denmark to march through accompanied by Hamlet himself, or at least people from the army that would protect them and allow them to march through in peace. This passage is significant to the text as a whole because it shows how certain characters act, explains certain situations within the text, and foreshadows what might happen next in the play.
Works Cited
Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
"Hamlet Text and Translation." eNotes. 2012. Web. 15 Nov 2012.
O’ Seiken
ReplyDelete3.2.474~3.2.417
Well the play’s just concluded by an ostentatious interruption by Claudius and Ham is partying with Horatio when the inseparable Guildenstern-Rosencrantz pair come in with tidings from the Queen. This could even be after the party, and they ambush him on his way home(?)
This event with the recorders is significant in its giving the reader insight into what Ham is really thinking, without any acting or madness. And we can see the way people are treating him and why he dislikes it. They are exchanging minor pleasantries when ‘players with recorders’-perhaps on their way to another round of partying-appear. As if getting some courage from the recorders, Ham turns the table on their conversation and counters them with an accusation “why do you go about to recover the wind/of me, as if you would drive me into a toil?” (.376~.77) The metaphor given is that of hunters (Guildenstern & Rosencrantz though the latter is forgotten) leading their quarry into a trap by knowing its thoughts and predicting its actions. ‘wind of me’ is used in this case to mean ‘windward side of me’ but it could also be a preface for his recorder speech where he alludes to it in “give it breath with your mouth.” (.388~.89) And of course to mean the recorder instrument, which is, by the way, a ‘wind’ instrument.
If he just wanted to listen to music he could’ve asked the players but notice he asks Guild to play the pipe. Hence, he just wanted an excuse to give him a taste of his well-spoken tirade. Ham calls the instruments ‘pipes’ instead of ‘recorders’ to create alliteration on the p. “I ‘pray’ you.” (.383) is in the following line. (the same could be said about “Believe me” (.384) and “I do beseech” (.385) for the b sound) He’s been hinting at it for some time but now he says it outright that he is disappointed in them. Though they remember to put in a respectable appellation and some smooth formalities to decorate each line uttered, their allegiance is no longer with him, and Ham feels their lack of heart in their words. When they say ‘my lord’ (.378, .382, etc) Ham hears the king’s name after it. Claudius is their real lord and they are willing to trip up their old friend to get closer to him. Even when he begs (beseeches) them, they won’t even try to play a simple instrument for him. That gets him angry. When he says ‘it’s as easy as lying’ (.387) I think he was hoping one of them would say something. Ham was very kind in asking a fourth time, when traditionally people would only go so far as three.
Refer to notes on some annotated edition but the gist is that he’s comparing himself to the recorder and how they (Claudius included) tried playing him up and down, thinking they knew every part of him and how to control him however. (.393~.402) Speaking of control, there was another part in Hamlet where he makes a similar metaphor-when he said he could be the narrator for Ophelia’s puppet show. And that leads us to puppet Ophelia. She is the other person in Hamlet who is also under constant surveillance, being controlled. So he could be making an allusion to her miserable state…maybe? Control is also a synonym for govern (.387).
This bold confrontation leaves the duo speechless, and while they are still fumbling, Polo comes in. the Queen is getting impatient and sends a third to fetch Ham. Even though he equally loathes Polo, he welcomes him with a smile. (.403) he switches from God bleeding to God blessing. In other words, even he is better than the two of them put together. Instead of giving a straight reply, Ham makes observations on distant clouds (at night?). He tests polo by asking if it looks like a camel, weasel, or whale. Polo sees all three. This gives the sense that Polo and the rest are just putting up with Ham because he’s the prince. He sends them off calling them friend but he lies through his teeth. When he says “‘By and by’ is easily said” he is lamenting over the frailty of words.
This is a rare moment where we know Ham is not acting and speaks as candid as can be. We can add ‘loyalty to King’ to the list of things he hates. It is understandable if people would want to characterize Polo as foolish because that’s all he is here. In a way, everything bad can be tied to the King being alive.
DeleteWorks Cited
Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
"Hamlet Text and Translation." eNotes. 2012. Web. 15 Nov 2012.
O oops. The paragraphs got blended
DeleteI can tell I'm not gonna be last tonight...
ReplyDeleteIvy Gillette 3.3.40-103
ReplyDeleteThe general significance of this passage is to show that Hamlet seeks purely revenge, that Claudius is deeply disturbed with selfish reasoning, and that what he says is not enough to pardon his sins since his intentions remain to keep the rewards of his sins. Shakespeare uses metaphorical language to create images, sentence structure and diction like rhyming schemes within iambic pentameter to further engage the audience and elaborate on the play’s characters.
Claudius has a very deep and disturbing selfish dilemma in which he realizes he cannot pray because his words are hollow. This rut Claudius is stuck in is shown in the difference between heaven and the law of Claudius’ world in 3.3.60-62 “In the corrupted currents of this world offence’s gilded hand may shove by justice, and oft ‘tis seen the wicked prize itself buys out the law; but ‘tis not so above…” This phrase means that in the corrupt ways of the world, offence’s golden hand overcomes justice and the “wicked prize itself buys out the law, but it’s not that way in heaven.” (“Hamlet Text and Translation”) So, with Claudius’ murder, he has gained “my crown, mine own ambition, and my queen.” (3.3.57) but he cannot give up those things for which he did the murder; “That cannot be; since I am still possess’d of those effects for which I did the murder- my crown, mine own ambition, and my queen.” (3.3.55-57)
Claudius expresses a conflict within himself by using a lot of questions and other forms of sentence structure such as exclamations or comparisons. In “May one be pardon’d and retain the offence?” (3.3.58), “What then? What rests? Try what repentance can. What can it not? Yet what can it when one cannot repent? O wretched state! O bosom black as death!” (3.3.66-69) and “To be forestalled ere we come to fall, or pardon’d being down?” (3.3.51-52) This helps to illustrate that Claudius knows he cannot convince heaven to take him in since “There is no shifty action [in heaven]. There the action lies in his true nature, and we ourselves are forced…” (“Hamlet Text and Translation”). Shakespeare uses another form of sentence diction with a rhyming scheme inside an iambic pentameter in the last lines of this passage “My words fly up, my thoughts remain below. Words without thoughts never to heaven go.” (3.3.99-100). This line signified Claudius’ mental state the clearest because it is straightforward; his words in prayer are meaningless to heaven if they are not sincere or echo his thoughts and intentions.
To support the fact that Hamlet is seeking purely revenge instead of just Claudius dead he says “O, this is hire and salary, not revenge!” (3.3.81) which is a metaphorical image used to convey his only intent which is to avenge his father by saying that he killing Claudius in prayer is something Claudius should “hire” Hamlet to do because it would ensure he goes to heaven. In other words it wouldn’t be in Hamlet’s best interest to kill Claudius while praying since revenge is his intention. This passage is further made ironic and elaborate when it shows Claudius thinking that he cannot go to heaven because he cannot pray and Hamlet thinking that Claudius will go to heaven if he is killed because he is making an effort to pray. Hamlet doesn’t realize that Claudius was unable to pray, but perhaps if he did he would have killed him then instead of waiting for “some act that has no relish of salvation in’t then trip him [kill him], that his heels may kick at heaven, and that his soul may be as damn’d and black as hell, whereto it goes.” (3.3.94-97)
(works cited) Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009. "Hamlet Text and Translation." eNotes. 2012. Web. 15 Nov 2012.
ReplyDeleteHannahEllis 3.1.161-202
ReplyDeleteIn this section Hamlet has just left after his “to be, or not to be” speech, and is talking to Ophelia. Polonius and Claudius discuss what is going on with Hamlet, after Ophelia makes her own comments to herself. Ophelia’s first lines talk about how Hamlet’s once noble mind, has now been overthrown and “Th’ expectancy and rose of the fair state” (3.1.166) has been taken down. (Hamlet Text and Translation) She uses a flower to show that the hope of Denmark, Hamlet, is wilting, and is no longer sane. Ophelia talks about how she had once been someone who was in love with Hamlet, but now she is depressed. Shakespeare wrote it so Ophelia called herself “most deject and wretched” (3.1.169) even though the words mean virtually the same thing. Deject is depressed while wretched is unhappy and unfortunate, he may do this to prove to show exactly how depressed Ophelia actually is because she is so beyond upset that she needs more than one word to describe the same feeling. She describes Hamlet’s mind “like sweet bells jangled, out of time and harsh; That unmatched form and stature of blown youth Blasted with ecstasy.” (3.1.172-174) Hamlet is playing out of tune, or acting strange, he has gone completely insane. The word blown refers to the rese she mentioned early that was wilting to tie everything she had just said into one compacted item. (Mowat 133) Ophelia feels somewhat bad for herself because she has seen the one she loves completely change and go mad. The King refuses to believe that Hamlet’s madness has come from being denied of love for Ophelia, he believes that there is something wrong with him and that he is somewhat dangerous. He compares the way Hamlet holds on the his depression and his plans to a bird that sits on their eggs. (Hamlet Text and Translation) It’s ironic that Claudius compares Hamlet to a bird, because birds usually symbolize death and the “egg” Hamlet is sitting over would be the King’s death. Claudius doesn’t seem to know exactly how close his description is to the truth. He also says that he doubt when it “hatches” it will be any good for anyone, which once again is ironic because it really won’t be good for him. The King then decides that he will send Hamlet to England to get rid of his afflictions and make everything better. (Hamlet Text and Translation) Polonius agrees that sending Hamlet to England might help, but he still believes that the madness started with Hamlet being denied of his love for Ophelia. He wants to make sure that it is not the case before Hamlet leaves, so he proposes that the King has Gertrude try to figure out what is wrong with Hamlet, while Polonius spies on them. And if it is not what is wrong then they can send him to England. The King replies “madness in great ones must not unwatch'd go”, meaning that Hamlet’s madness must be treated as soon as possible because one cannot be left in their madness for too long without doing something drastic.
Works Cited:
Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
"Hamlet Text and Translation." eNotes. 2012. Web. 15 Nov 2012.
*"Madness in great ones must not unwatch'd go" (3.1.202)
DeleteLogan H. 3.4.117-176
ReplyDelete1) Background
Prior to this passage, Gertrude and Polonius were discussing Hamlet, and how his attitude lately has been inexcusable. He tells Gertrude to be firm with Hamlet, and then hides behind a curtain in the room. Hamlet enters, and asks what she would like to say. She tells him that he has offended Claudius and he retorts back that she has offended his father. She scolds him for talking to her with attitude and reminds him that she is his mother, and Hamlet replies that he has not forgotton that she is his mother only in the church’s eyes. She gets up, offended, and he tells her that he will not let her leave until she finds the innermost part of herself. She becomes afraid that he will kill her and begins calling for help. When Gertrude begins calling for help, Polonius does, too. Hamlet hears him behind the curtain and believes that it is Claudius, so he stabs the man through the tapestry. He falls and dies, and Hamlet calls him an “Intruding fool” (3.4.38). He tells his mother that this deed is almost as bad as killing a king and marrying his brother, and she acts confused. He tells her to stop wringing at her hands and let him get into her heart. He continues to scream at her for all that she is done, but does not tell her outright that he believes she knew about Claudius killing his father, or that Claudius killed his father. It is at this point that the ghost enters, and my passage begins.
2) The Passage
Deletea) Below I have a modernized translation of the passage that I typed, with help from enotes Hamlet text ("Hamlet Text and Translation." eNotes. 2012. Web. 15 Nov 2012.) and the Folger's edition of Hamlet (Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.) I have attempted to interpret and translate into modern English every line from my section.
Hamlet: Save me and hover over me with your wings. Oh heavenly guardian, why are you here?
Gertrude: Alas, he is mad
Hamlet: Are you here because I took too long to do the thing that you asked me to do? Tell me
Ghost: I am only here to remind you of your purpose and keep you on track. Your mother is in shock. Step between her and her fighting soul. She feels guilty. Talk to her.
Hamlet: How are you, lady?
Gertrude: How are you, that you are talking to the air. Your spirit is crazy, and the soldiers are sleeping outside as you talk to inanimate things like they are alive, and are standing in front of you listening. Oh, gentle son, calm down your firey attitude and chill out. Where are you looking?
Hamlet: On him, On him! Look at how pale he looks. He is there, and his presence would make stones be able to come to life. (to ghost) don’t look at me unless you have changed my terrible objective you have given me out of pity. Then what I will have to do won’t be so colorful. I will trade tears in for blood.
Gertrude: Who are you talking to?
Hamlet: You don’t see him?
Gertrude: No, there is no one but us.
Hamlet: You don’t hear him?
Gertrude: No, I hear nothing.
Hamlet: Look there! Look at him wearing the clothes that he wore when he was alive. Look even now as he leaves.
Gertrude: This is how crazy your mind is. Seeing people without bodies. It’s very strong in imagination.
Hamlet: Crazy? Both of our hearts are keeping time, and making music. This is not craziness that I speak. Test me, and I will prove to you that I move away from crazy. Mother, for the love of god, don’t take comfort in the fact that I am crazy and you did nothing that I say you did wrong. You are so corrupt and rotten and no one else can see it because it is inside of you. Ask for forgiveness for what you have done and do not continue to do it and let it get worse then it already is. Forgive me and my virtue. For, for these corrupt and disgusting times, virtue is hard to find around the vice. Leave Claudius to honor my father and do him good.
B and c)There are a number of strategies that Shakespeare uses in this passage to contribute to the rhetorical effectiveness of the work of literature as a whole. The first rhetorical choice that I noticed was when Hamlet calls his father “heavenly guards” (3.4.118). This is significant in its context, because it proves that Hamlet is now convinced that his father is not from the devil, set out to tempt him and cause him to do bad things, like he previously was concerned about. He was previously afraid of his father’s ghost and what it could have meant and now he seems to think of it as his guardian angel. This also can go further, because if he feels more comfortable and safe with the ghost of his father then he does his own mother, it again pushes the idea that Hamlet would rather be with the living then the dead, and he has more in common with his father relating back to Ophelia’s comment on him, saying he looked “As if he had been loosed out of hell” (2.1.93) Another thing that I noticed about the passage was that the motif of playing and acting showed up. Hamlet says “Th’ important acting of your dread command” (3.4.124) and the way he uses the word “acting” is almost an oxymoron. His father’s request was to get revenge on Claudius for him, and suggested killing him, and that has nothing to do with acting. However, the way that Hamlet does end up handling it has to do with acting, because he writes a play to find out if Claudius really did kill his father. So, though Hamlet handled the situation through acting because he was indecisive whether or not his father’s ghost was truly not an apparition from the devil, he refers to his lack of action as “acting”. The ghost says “Step between her and her fighting soul” (3.4.29). That line contradicts what he had said previously. when you first read “step between her and her fighting soul”, you may think of putting someone out of their misery. that is the opposite of what the ghost told Hamlet to do in Act one Scene five, when he says, “Taint not thy mind, nor let thy soul contrive against thy mother aught. Leave her to heaven” (1.5.92-93). He at first tells Hamlet to leave his mother to feel guilty and carry the weight of her sins by herself, but do not punish her. But, in this passage, even though the ghost is only asking Hamlet to address his mother so she stops panicking, the way he says it gives it a parallel meaning to put her out of her misery and separate her sinful soul from her body. Gertrude continuously associates Hamlet’s eyes with his mind. She calls him crazy and says that his mind is playing tricks on him, but she also says that he has a wild look in his eyes and he “bends your eye on vacancy” (3.4.134). Associating what he looks like with the insanity in his head is related to the “I and eye” motif because it relates how Hamlet is being viewed by other people and what is actually going through his mind. Gertrude is inferring that she can see the crazy in his eyes. Hamlet is playing with his words when he says to his mother, “Look you, how pale he glares” (3.4.42). If you take that statement at face value, you see that he is talking about his transparent skin as a ghost, and referring to that as being pale. But, as opposed to saying “how pale he is” or “how pale he looks”, he decides to use the verb “glare”. I believe that he is trying to tell his mother that he sees his father’s ghost and he is glaring at her. He is trying to express that he looks like he is angry at her, as he should be for knowing about her current husband killing him and not doing anything about it except marry him.
DeleteThe imagery that Hamlet uses while talking directly to his father’s ghost is remarkable. He says to him, “Then what I have to do will want true color--tears perchance for blood” (3.4.46-47). He is saying that he wants his father to pity him for putting him in this position and then take him out of it, making it so he does not have to take revenge on Claudius. He asks his father to take his terrible duty away from him by saying “What he has will want true color” because tears are transparent and blood is a true color. Gertrude makes a comment about Hamlet’s madness in reaction to him being able to see the ghost of his father. She says, “This bodiless creation ecstasy is very cunning in” (3.4.158-159) in Hamlet, ecstasy means madness(Mowat79). Hamlet is referred to as being ecstatic again by Polonius after Phelia mentions Hamlet coming into her room looking insane. Polonius thinks that Hamlet has gone mad from losing Ophelia, and says, “This is the very ecstasy of love, which violent property fordoes itself.” (2.2.114-115). However, the word “ecstasy” in modern english means pleasure. Hamlet uses a reference to a heart in his plea of sanity. The way he compares his mother’s heartbeat as well as his own is to beautiful music (3.4.161). This is another contradiction to the way he felt about life prior to this scene. Beautiful music doesn’t exactly mean the same thing as corrupt and dirty. However, I feel that he uses this analogy to level with his mother and make her see that he does value life, therefore making her notice that he is as not as crazy and she thinks he is. He also contrasts his mother’s current “ulcerous” and “rank” attitude (as well as using an analogy talking about pouring compost to grow more weeds) to virtue (3.4.168-175). He is using another analogy, comparing what she is doing right now in his eyes, which is letting corruption and incest go unpunished, and what she should be doing, which is asking God for forgiveness and ending the dishonor to his father’s name.
Delete2) Conclusion
DeleteThe dramatic and thematic relevance in this passage to the work of literature is extremely important. It holds the first time that Hamlet directly tells the ghost that he trusts him, the first time Hamlet actually tries to defend his sanity and Hamlet’s final plea to his father asking him to release this burden from him.
Anna G.
ReplyDelete3.4.1-40
This scene starts off with the Queen and Polonius discussing Hamlet and his odd behavior. He tells her to say Hamlet that he must stop his foolish manners. He doesn’t want him to know he is there, so Polonius hides behind arras. When Hamlet enters the Queen, his mother, is straightforward and says to him “Hamlet, thou hast thy father much offended.” (3.4.12) You can infer by reading this line a specific annoyed tone, much like a mother today would use with her child. Also irritated with his mother, Hamlet sarcastically retorts back, “Mother, you have my father much offended.” We can tell here that Hamlet is starting to build confidence and is becoming quick with his words. Shakespeare has a technique that shows the process of a character growing. The phrases become more intelligent and witty, in Hamlet’s case. The rhythm also becomes quicker like his fast, curt responses. The queen then says to Hamlet that he needs to be careful of what he says to his mother. He dismisses it and puts the blame back on her. She seems exhausted with his attitude and is upset that the respect she expects of Hamlet means nothing to him at this moment. “Have you forgot me?” (3.4.18)
Hamlet’s response, “No, by the rood, not so. You are the Queen, your husband’s brother’s wife, and (would it were not so) you are my mother.” (3.4.19-21) This particular line is the line that seems to flip from Hamlet not taking any action to taking almost too much action.
While all of this is being said, Polonius is still hiding behind the curtain, without Hamlet’s knowledge. Hamlet tells his mother to sit down and not to move. “You go not till I set you up a glass/where you may see the {inmost} part of you.” (3.4.24-25)
The queen automatically thinks that her own son is trying to kill her, but in reality he just wants to show her what she has become. He wants her to look at her reflection and reflect on her own actions. But she becomes afraid and screams out that he is trying to murder her. “What wilt thou do? Thou wilt not murder me? Help, ho!” (3.4.26-27) Her reaction is sudden and frightened, although she does not need to be. Hamlet does not have any intention in killing his own mother. He just wants to express himself, (in an short-tempered way). The quick change of pace and cries of help cause Polonius to reveal his voice from behind the covert arras. Thinking Polonius is Claudius; Hamlet stabs Polonius through the arras. He does not stop to think that it could possibly not be Claudius hiding, but someone else. Hamlet goes from doing nothing with his feelings to killing an innocent person. The queen asks what Hamlet has done and he answers, “Nay, I know not. Is it the king?” (3.4.32) He does not think before he thrusts a rapier through an unidentified person. Polonius cries, “O, I am slain!” (3.4.30) Shakespeare puts this line there because during a play in the Elizabethan times, not everyone could see what was going on, so actions could turn into dialogue so people could understand. (Mr. Cook, during class)
Hamlet does not appear too disturbed by what he has done and switches subjects quickly. “A bloody deed—almost as bad, good mother, as kill a king and marry with his brother.” (3.4.34-35) He takes the attention off himself to place it back on his mother and her awful deeds she has done. She doesn’t seem to fully understand or doesn’t want to believe it. She and Hamlet show little remorse for the death that Hamlet has just caused. He doesn’t care because he knows now that Polonius had been eavesdropping on their conversation. “Thou wretched, rash, intruding fool, farewell.” (3.4.38) His brisk tone is effective because he it shows that he is becoming more and more aggressive and courageous, unlike previous scenes.
James King
ReplyDelete4.1.12-46
In this scene Gertrude tells Claudius almost immediately about Hamlets murder of Polonius. Gertrude describes Polonius as “the unseen good old man” this contrasts Hamlets interpretation of Polonius being a rat. However I feel that the real rat is Gertrude because she is the one who called for Hamlet, she who told Polonius to hide, and she who immediately went to Claudius after Polonius was killed. It is odd that Hamlet pressed his mother so hard to suppress her sexual desires towards Claudius but did not say anything about covering up the murder of Claudius. The fact that this is the first thing she told Claudius the moment they were alone was the murder makes me feel that see was not truly touched by Hamlets words and only agreed to his demands because she was scared for her life after all he had just killed Polonius. Claudius response Hamlets murdering was rather ironic. Claudius states that Hamlets “deed” which he states over and over was a heavy, bloody, vile deed. Claudius then states in the quote “His liberty is full of threats for all” saying that his very freedom is threat to everyone’s safety. The irony in this is that had killed Hamlets father and only it benefited him but if Hamlet kills someone he must punish him make his murder known by telling Rosencrantz and Guildenstern to make it public. Claudius regrets not keeping Hamlet on a short lease so to speak in the quotation “Should have kept short, restrained and out of haunt this mad young man.” but Shakespeare is also playing with the word haunt as Hamlet is also haunted by the ghost of his father. Claudius knows that Hamlet knows the truth about King Hamlet’s murder. He knows that Hamlet has killed Polonius and the Hamlet was in fact capable of action. Claudius then talks about the love that Gertrude and him share and it in the quote “But so much was our love, we would not understand what was most fit, but, like the owner of a foul disease, to keep it from divulging, let it feed.” and the way he describes it indicates that he known’s that their love is wrong and that they were already in love before King Hamlet died and that Gertrude may have known about King Hamlets death.
Leading up to my scene Gertrude cries out and so did Polonius (who is behind the tapestry) alo cries out and Hamlet kills him thinking the person behind the tapestry was Claudius.
ReplyDeleteI decided to analyze this section speaker by speaker to really get in depth with the words spoken by the characters. My section is 3.4.41-116, and it is a section in which Gertrude and Hamlet are speaking to each other about each other's action (Hamlet talking to his mother about her marriage to Claudius and Gertrude talking to Hamlet about his play).Hamlet starts by asking his mother to sit so that he can try to make her see what she has done an tat the same time try to make sense of it. Hamlet choice of word a powerful and metaphorical; basically saying to his mother let me see of your soul is still penetrable and “not made proof” (like an armor) “against sense”(3.4.46) (feeling- which connects back to how hamlet acts toward Ophelia, he talks to her though he has no feeling toward her). Hamlet basically saying that he wants to try and make Gertrude see what she has done and hopes he can do so successfully. Gertrude asks what she has done to deserve such rudeness from Hamlet. To which Hamlet replies with a string of comparisons mainly of what things used to be and what they are. “…call virtue hypocrite, takes off the rose from the fair fore of an innocent love and sets a blister there, makes the marriage vows as false as dicers' oaths, such a deed as from the body of contraction plucks the very soul, And sweet religion makes a rhapsody (jumble) of words, heavens faces glows down on 'earth' heated visage…”.(3.4.49-60) The marriage has made things mean the opposite of what they usually mean; things that used to be powerful (like the words at church) are not as powerful because they are now just a jumble of words. Gertrude 'what act have I done that receive such a violent introduction' (translation 3.4.62), she doesn't think she has done anything wrong, and also thinks that Hamlet is extreme with his words. Hamlet once again compares King Hamlet and Claudius but this time using their portraits. (3.4.63-73) Hamlet talks about the greatness of his father. For the second time he compares him to the sun God, he says 'an eye like mars' to threaten and command'. Mars is the god of war, and hamlet is basically implying that King Hamlet was a great warrior with the power “to threaten and command” ( reference to god of war connects Hamlet, King Hamlet, King Fortinbras and Fortinbras in the way that they were warriors and threatened and commanded or Hamlet who still does) . Hamlet also adds to say that his standing position “is like that of a winged messenger of the mercury gods”. (3.4.74-91 and translation) Hamlet says that Claudius is like mildew in ear (this connects to how Claudius killed King Hamlet) which is a very gross thing (think about it). However Hamlet could not even continue to insult Hamlet and call him the worst things that he can, because he gets interested on how and why Gertrude could possibly marry Claudius.
This shows how obsessed Hamlet is with the marriage and why it is still going on. Hamlet questions Gertrude repeatedly, and says that he doesn't get it, saying that even if Gertrude was missing a sense she would still be able to act rationally, which is why he doesn't understand why reason for her action. Hamlet goes farther to ask if the devil tricked her. Hamlet also uses the choices made by Gertrude to make a point for his actions. (3.4.93-98) saying that if you can act the way you are acting don't question me (the youth) for their actions. Gertrude tells hamlet that she sees that what she has done is wrong and has left a permanent mark on her soul (3.4.99-102) Hamlet has made her see her mistake but he adds that the reason she is harsh to her (answering her previous line (3.4.47-48)) is because they sleep together. Gertrude appalled tells Hamlet that it's enough what he has said, his words are “like daggers to ear”(daggers- connects back to Hamlet's 'To be or not to be' soliloquy, ear- connects back to the killing of King Hamlet) Hamlet replies that Claudius is “a murderer, villain, bafoon king”, connecting back to the play as that was how Claudius was portrayed.
ReplyDeleteThroughout this scene, Hamlet is trying to get Gertrude to see what she has done and make her see that she is doing wrong things but Gertrude however doesn't seem to get it. Hamlet uses a lot of comparison to try and get Gertrude to understand the situation and the consequences. In this section Shakespeare uses exclamations especially '?' and '!' to show Hamlet's state, as he question his mother throughout this scene and Gertrude surprised by the statements made by Hamlet. Shakespeare also uses comparisons and contrasts between Claudius and King Hamlet to show how Hamlet feels about both and also comparisons to how things are and how they should be to show the effect of Gertrude and Claudius's marriage. This scene is a repetition of situations that Hamlet deals with: marriage between Claudius and Gertrude and Claudius' evil actions.
"Infoplease." . Pearson Educatio. Web. 15 Nov 2012. .
Mowat, Barbara A and Paul Werstine, eds. Hamlet by William Shakespeare. New York: Simon & Schuster, Inc., 2009.
Alan D
ReplyDeleteAct 4 scene 2
In the act four scene two Hamlet has hid Polonius' body and Rosencrantz, and Guildenstern are trying to get Hamlet to reveal where he put the body. While talking to the his old friends Hamlet avoids the question by making fun of the two without them realizing it again. He makes both of them think that he destroyed it while he actually is calling them fools. The dramatic significance is that people are really thinking Hamlet is crazy and they are distancing them from him even though they are also doing so with the king as well. The thematic significance is that Hamlet is making showing that he is coping with the tragedy by making a pun on words and making fun of others with them none the wiser, even when his tragedy is getting worse and worse. This is shown in multiple steps, the first being that when Rosencrantz asks where the body is Hamlet says, "it with dust where 'tis kin"(4.2.6) saying that Polonius was nothing, and now his body is nothing, A.K.A. nowhere. When Hamlet says that the two men are "sponges"(4.2.12) he explains in a speech he calls them a brownnoser by saying that, "soaking up the King's countenance, his rewards..." (4.2.15-16), and by calling them brownnosers he shows the audience that he is can see what the Claudius is up to and Hamlet is one step ahead. The men do not understand what the speech that Hamlet basically says good a fool was meant to understand it. When Hamlet was asked again where the body was Hamlet said that the king was responsible for Polonius' death but the King didn't have the body. Finally Hamlet says, "Of nothing. Bring me to him. Hide fox and all after."(4.2.30-31) which is Hamlet saying take me to the king while you go off in a never ending hide and go seek game looking for the body. Uses the sassy comments that Hamlet to show that Hamlet is still sane enough to use his words still, and that Hamlet was losing patience with everyone. In act 2 scene 2 where Rosencrantz and Guildenstern were sent to spy on Hamlet. This is another scene where Hamlet messes with the two men, and is the scene where he starts to become paranoid about people spying on him, and starts to lose his patience with people. In this scene Hamlet mess with the minds of Rosencrantz and Guildenstern when they ask Hamlet where he hid the body of Polonius. Here Hamlet makes the other people in the play think he is even more crazy, and the audience sees Hamlet's coping mechanisms.
Kevin R.
ReplyDelete3.2 1-97
There are two things going on in this scene for lines 1 – 97; Hamlet talks to the players about his preference on how they act out there plays, and Hamlet tells Horatio about his visions of his father’s ghost and suspected murder. In both of these passages I think the same thing is revealed about Hamlet’s character being that he truly does despise himself. Shakespeare uses what I believe to be clever irony, as well as lines containing iambic pentameter in order to get this sense of self disapproval from Hamlet across to readers.
The scene starts with Hamlet giving advice to the players on different acting and stage techniques, he talks about what type of acting he enjoys as well as what he looks down on with displeasure. He tell the player “Nor do saw the air/ too much with your hand, thus, but use all gently;/ for in the very torrent, tempest, and as I may say,/ whirlwind of your passion, you must acquire and/ beet temperance that may give it smoothness.” (3.2 4-8) What I believe Hamlet is saying here is that he enjoys theater that seems natural and smooth almost like if the actors were in a “mirror up to nature” (3.2 23-24). It is clear that clear that Hamlet doesn’t like actors that flail themselves around (talking about “sawing the air” 3.2 4) and overact or overdo scenes. But at the same time Hamlet apparently is the king at putting on these over dramatize and fake performances. Hamlet seems to be constantly acting mad throughout the play in this overdone crazed sense in order to hide his inner thoughts and secrets. He says so in the beginning the play Hamlet tells Horatio and company “How strange or odd some’er I bear myself/ (As I perchance hereafter shall think meet/To put antic disposition on)” (1.5 189-192). So it is quit ironic for Hamlet to tell the players not to act in an “antic disposition” when he himself acts in an “antic disposition” fairly often. This is ironic as well as very contradicting and what I think it says about Hamlet is that he really hates the way he acts and presents himself.
Hamlet also uses iambic pentameter to deliver a very interesting line talking about Horatio he says “Give me that man/ That is not passions slave” (3.2 76-77). What this means is that Horatio is not controlled by his emotions which is opposite to Hamlet whose decisions are controlled mostly by his emotions. This is one of the reasons Hamlet admires Horatio as a friend so much and decides to have him help watch Claudius’s reaction during the play (Horatio’s judgment won’t be affected by emotion like Hamlet’s will). I think Hamlet also envies Horatio for this trait and loathes himself for not having it. It is because of this characteristic of Hamlet that withholds him from action which is one of the core causes of his self hatred. Hamlet says in just the scene before “Thus conscience does make cowards of us all” (3.1 91) meaning that it is his emotions and thought that make him the coward that he despises.
A question left unanswered I came across along with many others is whether or not this strongly opinionated voice that we hear talking about acting comes from Shakespeare or just the fictional character of Hamlet. It is clear from what we know about Shakespeare that he knew a lot about acting and plays (I mean he was an actor himself) so he obviously had some strong opinions on the subject. Apparently so did Hamlet he says “Now this overdone or come / tardy off, though it makes the unskillful laugh, / cannot but make the judicious grieve” (3.2 26-28). He is saying that he doesn’t believe in this form of comedy for minds of the simpler but instead shoots to impress the more keen eyes and ears. This would make sense if this was Shakespeare’s feeling considering the complex language, and sentence structure he uses in his plays that only most educated could pick up on. Not “groundlings, who for the / most part are capable of nothing but inexplicable / dumb shows and noise.” (3.2 11-13). I think these “groundling” referring to “spectators who stood rather than sat, and thus paid less to go to the theater” (Folger notes) was also referring to the “unskillful.” It is clear that Hamlet doesn’t care much about impressing this audience but to me I think Shakespeare also holds the same belief and he is using Hamlet’s character to convey this feeling.
DeleteI believe that we are hearing a ghost of Shakespeare when we are reading this passage simply because of its small importance it has in play and the furthering of its plot. But I think Shakespeare decides to write it into the play order to show his beliefs on theater, and acting. The scene does say a lot about Hamlet’s character but could have very easily been cut out of the play almost like Mercutio’s Queen Mab speech (in Romeo and Juliet) but it is still included because of what it says about that character.