Hamlet:
"Why, look you now, how unworthy a thing
You make of me! You would play upon me, you
would seem to know my stops, you would pluck
out the heart of my mystery, you would sound me
from my lowest note to <the top of> my compass;
and there is much music, excellent voice, in this
little organ, yet cannot you make it speak. 'Sblood,
do you think I am easier to be played on than a pipe?
Call me what instrument you will, though you <can>
fret me, you cannot play upon me."
(3.2, 393-402)
It is not uncommon to have people in one's life who take advantage of one's kindness, ignorance, or gullibility. People who are easy to take advantage of are targets of manipulation and deceit. What is uncommon, however, is when kind, ignorant, and gullible people stand up and face their assailants. In this passage, Hamlet faces Guildenstern and Rosencrantz and tells them that he will no longer put up with being treated as a fool.
In this verbal attack, Hamlet compares himself to organ and compares his friends to people playing an organ. Instead of blatantly telling his friends to stop taking advantage of him, he is clever in his approach. He first accuses them of looking at him as 'how unworthy a thing' (3.2, 393). Following this statement he sets in on a series of accusations all starting with the words 'you would' (3.2, 394, 395, 396). These accusation begin simply with Hamlet saying they would 'play upon me' (3.2, 394). He then gets more complex and says that they 'know all my stops' (3.2, 395) which means they know everything about him and what makes him tick. Next, he says they would 'pluck out the heart of my mystery' (3.2, 395-396). This means that they would destroy that mystery of his life. Finally, he says they would 'sound me from my lowest note to <the top of> my compass' (3.2, 394-395). This means that they would expose everything about him. After all of these accusations, Hamlet switches the tone.
In the second half of his verbal attack on his friends, Hamlet basically compliments himself and then says that they cannot play him like an organ. Hamlet says that he has an 'excellent voice' (3.2, 398), but that voice is not available to be played by them. He tells them that they can call him whatever they want and perceive him as whatever instrument they want but then finishes with 'you cannot play upon me' (3.2, 402) thus asserting his power and confidence.
This passage reveals a lot about the nature of Hamlet's relationship with Guildenstern and Rosencrantz. It shows that they have taken advantage of Hamlet in the past. However, in this passage Hamlet asserts himself and tells them that he is not an organ to be played by anyone.
Thursday, December 29, 2016
Wednesday, December 28, 2016
Truth Within Deception
HAMLET:
"Get thee to a nunnery. Why wouldst thou be a breeder of sinners? I am myself indifferent honest, but yet I could accuse me of such things that it were better my mother had not borne me: I am very proud, revengeful, ambitious, with more offenses at my beck than I have thoughts to put them in, imagination to give them shape, or time to act them in. What should such fellows as I do crawling between earth and heaven? We are arrant knaves all; believe none of us. Go thy ways to a nunnery."
(3.1.131-140)
Hamlet truly is a fascinating character. His relationship with deceit -- he abhors it, yet utilizes it -- is shown in this monologue and scene, as is the changeability of his relationship with Ophelia. More than anything, however, this passage shows Hamlet's opinions of humanity. He shows his thoughts about women, himself, and humans in general, but it is still uncertain as to whether or not these thoughts are sincere.
Hamlet's first focus is on Ophelia and her kind (women). By shouting "Get thee to a nunnery" five times in one scene (3.1.131,140,148-149,151,162), Hamlet drives home his opinion that women are only valuable when they are chaste and therefore "honest" (3.1.113). He views sexual women as, invariably, whores, whose only purposes and desires are for sex and the domination of man's will. On the other hand, Hamlet also seems to have trouble with the concept that mothers also are sexually active, as shown in his relationship with Gertrude. He asks Ophelia, "Why wouldst thou be a breeder of sinners?", as if taking another approach to convince her to be celibate (it should be noted that he uses the word "breeder" to describe a woman, adding a negative connotation to the concept of motherhood and equating women/mothers to animals). He asks her why she would want to have sex and become a mother when it is inevitable that her children will be sinners.
This brings him to a list of traits that are unseemly within himself. He quantifies that though he is "indifferent honest," he is still "proud, revengeful, [and] ambitious" (3.1.132-133, 135). Even virtuous men are still guilty of some sin, and Hamlet is guilty, not only of sins he commits in nature or action, but of sins that come to his mind but are never acted upon (3.1.135-138). He shows himself to be quite self-aware, yet unwilling to change his ways -- despite the fact that he condemns others for the same behavior. He seems to know this, however, and asks why he should be allowed to be "crawling between earth and heaven", instead of in hell where he belongs. And he seems to extend this view of himself to all men, asserting that they are all "arrant knaves" who should not be believed about anything (3.1.139-140).
This reminder to Ophelia to not trust men reminds us of something else about Hamlet: the fact that he is making up his entire demeanor to mislead Claudius and the court. This monologue is in prose rather than blank verse, contrasting with Hamlet's monologue earlier in the scene ("To be or not to be," from lines 64-98) when he thought he was alone. The use of prose in Shakespeare's plays usually indicates a lower social class or a state of madness; Hamlet's use of prose shows the other characters and the audience that he is mad or pretending to be so, while his use of verse shows himself and the audience that he is sane and aware at that point in time. This monologue, then, is given while Hamlet is pretending to be crazy. It is therefore unclear as to the sincerity of the sentiments expressed. Only the director and the actor would be able to determine the truth of Hamlet's words.
This scene, which begins the climactic act in the play, shows Hamlet's real complexity. With the contrast between the ideas he expresses and the dishonesty of his demeanor, he becomes quite hard to figure out. It is possible that a performance of the text would provide more clarity, but it might simply be that Hamlet is a complex and obscure character, meant to be an anomaly and a puzzle for all audiences.
"Get thee to a nunnery. Why wouldst thou be a breeder of sinners? I am myself indifferent honest, but yet I could accuse me of such things that it were better my mother had not borne me: I am very proud, revengeful, ambitious, with more offenses at my beck than I have thoughts to put them in, imagination to give them shape, or time to act them in. What should such fellows as I do crawling between earth and heaven? We are arrant knaves all; believe none of us. Go thy ways to a nunnery."
(3.1.131-140)
Hamlet truly is a fascinating character. His relationship with deceit -- he abhors it, yet utilizes it -- is shown in this monologue and scene, as is the changeability of his relationship with Ophelia. More than anything, however, this passage shows Hamlet's opinions of humanity. He shows his thoughts about women, himself, and humans in general, but it is still uncertain as to whether or not these thoughts are sincere.
Hamlet's first focus is on Ophelia and her kind (women). By shouting "Get thee to a nunnery" five times in one scene (3.1.131,140,148-149,151,162), Hamlet drives home his opinion that women are only valuable when they are chaste and therefore "honest" (3.1.113). He views sexual women as, invariably, whores, whose only purposes and desires are for sex and the domination of man's will. On the other hand, Hamlet also seems to have trouble with the concept that mothers also are sexually active, as shown in his relationship with Gertrude. He asks Ophelia, "Why wouldst thou be a breeder of sinners?", as if taking another approach to convince her to be celibate (it should be noted that he uses the word "breeder" to describe a woman, adding a negative connotation to the concept of motherhood and equating women/mothers to animals). He asks her why she would want to have sex and become a mother when it is inevitable that her children will be sinners.
This brings him to a list of traits that are unseemly within himself. He quantifies that though he is "indifferent honest," he is still "proud, revengeful, [and] ambitious" (3.1.132-133, 135). Even virtuous men are still guilty of some sin, and Hamlet is guilty, not only of sins he commits in nature or action, but of sins that come to his mind but are never acted upon (3.1.135-138). He shows himself to be quite self-aware, yet unwilling to change his ways -- despite the fact that he condemns others for the same behavior. He seems to know this, however, and asks why he should be allowed to be "crawling between earth and heaven", instead of in hell where he belongs. And he seems to extend this view of himself to all men, asserting that they are all "arrant knaves" who should not be believed about anything (3.1.139-140).
This reminder to Ophelia to not trust men reminds us of something else about Hamlet: the fact that he is making up his entire demeanor to mislead Claudius and the court. This monologue is in prose rather than blank verse, contrasting with Hamlet's monologue earlier in the scene ("To be or not to be," from lines 64-98) when he thought he was alone. The use of prose in Shakespeare's plays usually indicates a lower social class or a state of madness; Hamlet's use of prose shows the other characters and the audience that he is mad or pretending to be so, while his use of verse shows himself and the audience that he is sane and aware at that point in time. This monologue, then, is given while Hamlet is pretending to be crazy. It is therefore unclear as to the sincerity of the sentiments expressed. Only the director and the actor would be able to determine the truth of Hamlet's words.
This scene, which begins the climactic act in the play, shows Hamlet's real complexity. With the contrast between the ideas he expresses and the dishonesty of his demeanor, he becomes quite hard to figure out. It is possible that a performance of the text would provide more clarity, but it might simply be that Hamlet is a complex and obscure character, meant to be an anomaly and a puzzle for all audiences.
Hamlet's True Feelings
Act 3. Scene 4. Lines 47-60
"QUEEN: What have I done, that thou dar'st wag thy tongue
In noise so rude against me?
HAMLET: Such an act that blurs the grace and blush of modesty,
Calls virtue hypocrite, takes off the rose
From the fair forehead of an innocent love
And sets a blister there, makes marriage vows
As false as dicers' oaths -- O, such a deed
As from the body of contraction plucks
The very soul, and sweet religion makes
A rhapsody of words! Heaven's face does glow
O'er this solidity and compound mass
With heated visage, as against the doom,
Is thought-sick at the act."
In this scene, Hamlet is verbally attacking his mother for her decisions in life, especially her decision to marry Claudius. He is extremely unhappy with her for marrying his uncle after his father died and she does not seem to understand his pain and feelings towards the marriage. This passage takes place directly after Hamlet kills Polonius, thinking it was actually his uncle, and it depicts Hamlet to be taking out his frustrations on his mother while she is confused and helpless. It is clear that the feelings Hamlet expresses to his mother are not ones that he came up with on the spot, Hamlet has been thinking about these feelings and letting them build up since the marriage took place and he happened to crack at this very moment.
This passage begins with the Queen expressing her confusion and general uneasiness regarding Hamlet's attitude towards her. She asks him what she had done to him to make his "tongue in noise so rude against [her]," meaning what she did to upset him and make him act so rude. Hamlet quickly replies with an honest and blunt answer. He indirectly calls his mother a hypocrite and declares that her marriage vows to her father were false since she chose to marry his uncle when his father died. He continues by referencing the "body of contraction," meaning the body of her marriage contracts between her two husbands, and states that it "plucks the very soul," meaning it can seriously affect a person. This connects to Hamlet's personal feelings on marriage and love because it implies that marriage only harms people in the end rather than bringing them joy and happiness which is what he also believes in his own life. Next, he states that religion can makes marriage contracts and "rhapsody," or jumble, "of words," meaning that matrimony is not even clearly laid out by the church which indirectly enables marriages like his mother's and uncle's to each other after his father died. Hamlet then states that "Heaven's face does glow o'er this solidity and compound mass," further emphasizing the church's acceptance of this marriage despite his hatred towards it and his mother's decisions.
It is clear through this passage that Hamlet detests his mother's new marriage and he now questions everything he once knew about his mother. He does not feel like he truly knows her anymore because he never believed that his mother could commit such a distasteful act. It is also clear that Hamlet detests his uncle even more. This passage shows that Hamlet questions love and marriage a great deal and certainly more now than he did when his own father was still alive. This incident of lashing out at his mother may just be due to the fact he just filled Polonius thinking it was Claudius, however, the reason behind it doesn't matter as much as the simple fact that it occurred and his true feelings towards his mother were finally expressed to her.
"QUEEN: What have I done, that thou dar'st wag thy tongue
In noise so rude against me?
HAMLET: Such an act that blurs the grace and blush of modesty,
Calls virtue hypocrite, takes off the rose
From the fair forehead of an innocent love
And sets a blister there, makes marriage vows
As false as dicers' oaths -- O, such a deed
As from the body of contraction plucks
The very soul, and sweet religion makes
A rhapsody of words! Heaven's face does glow
O'er this solidity and compound mass
With heated visage, as against the doom,
Is thought-sick at the act."
In this scene, Hamlet is verbally attacking his mother for her decisions in life, especially her decision to marry Claudius. He is extremely unhappy with her for marrying his uncle after his father died and she does not seem to understand his pain and feelings towards the marriage. This passage takes place directly after Hamlet kills Polonius, thinking it was actually his uncle, and it depicts Hamlet to be taking out his frustrations on his mother while she is confused and helpless. It is clear that the feelings Hamlet expresses to his mother are not ones that he came up with on the spot, Hamlet has been thinking about these feelings and letting them build up since the marriage took place and he happened to crack at this very moment.
This passage begins with the Queen expressing her confusion and general uneasiness regarding Hamlet's attitude towards her. She asks him what she had done to him to make his "tongue in noise so rude against [her]," meaning what she did to upset him and make him act so rude. Hamlet quickly replies with an honest and blunt answer. He indirectly calls his mother a hypocrite and declares that her marriage vows to her father were false since she chose to marry his uncle when his father died. He continues by referencing the "body of contraction," meaning the body of her marriage contracts between her two husbands, and states that it "plucks the very soul," meaning it can seriously affect a person. This connects to Hamlet's personal feelings on marriage and love because it implies that marriage only harms people in the end rather than bringing them joy and happiness which is what he also believes in his own life. Next, he states that religion can makes marriage contracts and "rhapsody," or jumble, "of words," meaning that matrimony is not even clearly laid out by the church which indirectly enables marriages like his mother's and uncle's to each other after his father died. Hamlet then states that "Heaven's face does glow o'er this solidity and compound mass," further emphasizing the church's acceptance of this marriage despite his hatred towards it and his mother's decisions.
It is clear through this passage that Hamlet detests his mother's new marriage and he now questions everything he once knew about his mother. He does not feel like he truly knows her anymore because he never believed that his mother could commit such a distasteful act. It is also clear that Hamlet detests his uncle even more. This passage shows that Hamlet questions love and marriage a great deal and certainly more now than he did when his own father was still alive. This incident of lashing out at his mother may just be due to the fact he just filled Polonius thinking it was Claudius, however, the reason behind it doesn't matter as much as the simple fact that it occurred and his true feelings towards his mother were finally expressed to her.
Tuesday, December 20, 2016
Why Are You Here?
p. 101, Act 2, Scene 2, lines 293-311:
"Hamlet: Beggar that I am, I am <even> poor in thanks;
but I thank you, and sure, dear friends, my thanks
are too dear a halfpenny. Were you not sent for?
Is it your own inclining? Is it a free visitation?
Come, come, deal justly with me. Come, come; nay,
speak.
Guildenstern: What should we say, my lord?
Hamlet: Anything but to th' purpose. You were sent
for, and ther is a kind of confession in your looks
which your modesties have not craft enough to
color. I know the good king and queen have sent for
you.
Rosencrantz: To what end, my lord?
Hamlet: That you must teach me. But let me conjure
you by the rights of our fellowship, by the conso-
nancy of our youth, by the obligation of our ever-
preserved love, and by what more dear a better
proposer can charge you withal: be even and direct
with me whether you were sent for or no.
The King tries to be sneaky and sends who he believes are Hamlet's best and closest friends to inquire about Hamlet's well-being. The two subordinates can no nothing other than comply, and do their best to extract the needed information from Hamlet.
These two friends are just doing what they're told, and are unsuspecting pawns in the game between Hamlet and his stepparents. Hamlet suspects right off the bat why his school friends, people he has not talked to in years, have suddenly come up to him feigning great interest in any new developments in his life. They knew Hamlet in the "consonancy of [their] youth", way back when nothing bad occurred in their lives. Yes, Hamlet still has feelings for Rosencrantz and Guildenstern, but only "by the obligation of our ever-preserved love". Love that is everlasting, but not much in depth. The love Hamlet has for his two old friends is akin to the love one has for a dead pet- strong, but slightly forgotten.
Thus, Hamlet sees right through them and their thinly-veiled guise to get information out of him. While he expresses gratitude for their visit, saying his "thanks are too dear a halfpenny", or are quite valuable. Right afterwards, however, Hamlet questions Rosencrantz and Guildenstern's motives, asking them if they "were not sent for", of their "own inclining", and whether or not "it is a free visitation". The three questions in quick succession indicate how peeved and frustrated Hamlet is that his stepparents sent his old friends to spy on him, that the royal couple do not trust him so much that they made these two innocent men their spies.
Picking Rosencrantz and Guildenstern shows how much Queen Gertrude and the King know about Hamlet and his preferences. If they had truly known Hamlet, the two would know about his current friends and habits. At the moment, they assume that Hamlet's school friends are still his best and closest, as opposed to anyone he may have met in the many years after graduation. This also carries over into how the royal couple deal with Hamlet's grief; they have no idea what's going on, so they just do what they think is right, even if it's totally different from the real Hamlet.
"Hamlet: Beggar that I am, I am <even> poor in thanks;
but I thank you, and sure, dear friends, my thanks
are too dear a halfpenny. Were you not sent for?
Is it your own inclining? Is it a free visitation?
Come, come, deal justly with me. Come, come; nay,
speak.
Guildenstern: What should we say, my lord?
Hamlet: Anything but to th' purpose. You were sent
for, and ther is a kind of confession in your looks
which your modesties have not craft enough to
color. I know the good king and queen have sent for
you.
Rosencrantz: To what end, my lord?
Hamlet: That you must teach me. But let me conjure
you by the rights of our fellowship, by the conso-
nancy of our youth, by the obligation of our ever-
preserved love, and by what more dear a better
proposer can charge you withal: be even and direct
with me whether you were sent for or no.
The King tries to be sneaky and sends who he believes are Hamlet's best and closest friends to inquire about Hamlet's well-being. The two subordinates can no nothing other than comply, and do their best to extract the needed information from Hamlet.
These two friends are just doing what they're told, and are unsuspecting pawns in the game between Hamlet and his stepparents. Hamlet suspects right off the bat why his school friends, people he has not talked to in years, have suddenly come up to him feigning great interest in any new developments in his life. They knew Hamlet in the "consonancy of [their] youth", way back when nothing bad occurred in their lives. Yes, Hamlet still has feelings for Rosencrantz and Guildenstern, but only "by the obligation of our ever-preserved love". Love that is everlasting, but not much in depth. The love Hamlet has for his two old friends is akin to the love one has for a dead pet- strong, but slightly forgotten.
Thus, Hamlet sees right through them and their thinly-veiled guise to get information out of him. While he expresses gratitude for their visit, saying his "thanks are too dear a halfpenny", or are quite valuable. Right afterwards, however, Hamlet questions Rosencrantz and Guildenstern's motives, asking them if they "were not sent for", of their "own inclining", and whether or not "it is a free visitation". The three questions in quick succession indicate how peeved and frustrated Hamlet is that his stepparents sent his old friends to spy on him, that the royal couple do not trust him so much that they made these two innocent men their spies.
Picking Rosencrantz and Guildenstern shows how much Queen Gertrude and the King know about Hamlet and his preferences. If they had truly known Hamlet, the two would know about his current friends and habits. At the moment, they assume that Hamlet's school friends are still his best and closest, as opposed to anyone he may have met in the many years after graduation. This also carries over into how the royal couple deal with Hamlet's grief; they have no idea what's going on, so they just do what they think is right, even if it's totally different from the real Hamlet.
A Relationship Built On Lust and Convenience
“My lord, as I was sewing in my closet, Lord Hamlet, with his doublet all unbraced, no hat upon his head, his stockings fouled, ungartered, and down-gyved to his ankle, pale as his shirt, his knees knocking each other, and with a look so piteous in purport as if he had been loosed out of hell to speak of horrors--he comes before me.”
So Ophelia describes her beloved when he visits her in the night. It is a very terrifying account, to be sure, but there is something missing--anything beyond superficial appearances. This says a lot about Hamlet and Ophelia’s relationship, mostly that it does not exist beyond face value. They love each other on appearances only, nothing more.
Ophelia goes into great detail on Hamlet’s appearance. She describes every detail of his clothing, how disheveled it all is, and how frightened she is by its appearance. She also describes his body; it is “pale as his shirt”, with “knees knocking each other” and “a look so piteous in purport as if he had been loosed out of hell to speak of horrors”. This shows someone who is very familiar with Hamlet’s normal outward appearance, and someone who is uncomfortable with any deviation from it.
There is also no concern here. There is no fear of seeing the love of her life in a state of insanity, only fear for herself. There is no concern as to what could have driven him to this state, only concern for disobeying her father’s instructions. There is nothing that is present in a relationship built on mutual love, trust, and respect, proving that this is a very weak relationship. They were put together out of convenience and stayed together out of lust. When Hamlet shows signs of extreme mental illness, then, Ophelia only responds on the most selfish and superficial of levels.
The Long Winded's Meaning
page 91 lines 140-160
Polonius:
"I would fain prove so. But what might you think,
When I had seen this hot love on the wing
(As I perceived it, I must tell you that,
Before my daughter told me), what might you,
Or my dear Majesty your queen here, think,
If I had played the desk or table-book
Or given my heart a <winking>, mute, and dumb,
Or looked upon this love with idle sight?
What might you think? No, I went round to work,
And my young mistress thus did I bespeak:
'Lord Hamlet is a prince, out of thy star.
This must not be.' And then I prescripts gave her,
That she should lock herself from <his> resort,
Admit no messengers, receive no tokens;
Which done, she took the fruits of my advice,
And he, repelled (a short tale to make),
Fell into a sadness, then into fast,
Thence to a watch, thence into a weakness,
Thence to <a> lightness, and, by this declension,
Into the madness wherein now he raves
And all we mourn for."
Polonius is known for being a blabbering buffoon in this play. He speaks in circles to get to his point. It annoys all the other characters. This passage is somewhat different. He says less nonsense than he normally does. That let's the reader know its importance.
Polonious's fluff is necessary to identify before comprehending the important phrases. Line 5 is him just addressing the Queen. His question "what might you think?" is rhetorical and then he answers it himself. He also explains everything before he says it such as calling what he is about to say a "short tale". Lastly. he uses repetition like of the word "thence" (to emphasize his point and/or to just be his chattering self). He also uses many words to get to the point of saying Hamlet went crazy.
This passage tells the reader how he views the love between Hamlet and Ophelia. He calls it a "hot love", which conjures an image of passionate lovers. It's interesting that a father views his daughter's love that way. He tells the King and Queen that he "perceived [the love]" and "before [his] daughter told [him]". That means Hamlet and Ophelia were obviously crazy about each other. He then goes on to say he did not ignore this love, that would have been dumb. He goes "round to work", meaning he decides to fix what he believes to be a problem. He tells Ophelia that Hamlet is out of her league; he does not think highly of his daughter or family (he knows his place). His solution is to lock her away with no messages or gifts. Finally, Polonious ends saying that once he did this with Ophelia, Hamlet went crazy and that everyone is sad about it.
Polonius:
"I would fain prove so. But what might you think,
When I had seen this hot love on the wing
(As I perceived it, I must tell you that,
Before my daughter told me), what might you,
Or my dear Majesty your queen here, think,
If I had played the desk or table-book
Or given my heart a <winking>, mute, and dumb,
Or looked upon this love with idle sight?
What might you think? No, I went round to work,
And my young mistress thus did I bespeak:
'Lord Hamlet is a prince, out of thy star.
This must not be.' And then I prescripts gave her,
That she should lock herself from <his> resort,
Admit no messengers, receive no tokens;
Which done, she took the fruits of my advice,
And he, repelled (a short tale to make),
Fell into a sadness, then into fast,
Thence to a watch, thence into a weakness,
Thence to <a> lightness, and, by this declension,
Into the madness wherein now he raves
And all we mourn for."
Polonius is known for being a blabbering buffoon in this play. He speaks in circles to get to his point. It annoys all the other characters. This passage is somewhat different. He says less nonsense than he normally does. That let's the reader know its importance.
Polonious's fluff is necessary to identify before comprehending the important phrases. Line 5 is him just addressing the Queen. His question "what might you think?" is rhetorical and then he answers it himself. He also explains everything before he says it such as calling what he is about to say a "short tale". Lastly. he uses repetition like of the word "thence" (to emphasize his point and/or to just be his chattering self). He also uses many words to get to the point of saying Hamlet went crazy.
This passage tells the reader how he views the love between Hamlet and Ophelia. He calls it a "hot love", which conjures an image of passionate lovers. It's interesting that a father views his daughter's love that way. He tells the King and Queen that he "perceived [the love]" and "before [his] daughter told [him]". That means Hamlet and Ophelia were obviously crazy about each other. He then goes on to say he did not ignore this love, that would have been dumb. He goes "round to work", meaning he decides to fix what he believes to be a problem. He tells Ophelia that Hamlet is out of her league; he does not think highly of his daughter or family (he knows his place). His solution is to lock her away with no messages or gifts. Finally, Polonious ends saying that once he did this with Ophelia, Hamlet went crazy and that everyone is sad about it.
Love Poems
Polonius:
Good madam, stay awhile. I will be faithful.
He reads the letter.
Doubt that the stars are fire,
Doubt that the sun doth move,
Doubt truth to be a liar,
But never doubt I love.
O dear Ophelia, I am ill at these numbers. I have not
art to reckon my groans, but that I love thee best, O
most best, believe it. Adieu.
Thine evermore, most dear lady, whilst
this machine is to him, Hamlet.
(2.2.123-132)
Polonius has thought for a while at this point that Hamlet's infatuation with Ophelia is the source of his strange behavior. Before Polonius shows this letter to the King and Queen, as he does in this passage, Ophelia comes to him with news of Hamlet's behavior. This includes, but is not limited to: appearing in ragged clothing during untimely hours, profoundly sighing, grabbing her wrist, and exiting rooms apparently without the aid of his eyes. Polonius is convinced that this behavior is entirely truthful, and that the contents of this letter prove his hunch.
Hamlet starts his love letter with a poem that he has composed himself, which is revealed through his complaining about his lack of skill: "I am ill at these numbers" is Hamlet saying he lacks dexterity in writing poetry (2.2.128). In his poem, he tells Ophelia to doubt several statements. His usage of "doubt" varies in connotation, however. In the first two lines of the poem, doubt implies skepticism of various truisms, while in the third it implies weariness towards the personified truth. In the fourth line, however, Hamlet implores Ophelia: "never doubt I love" (2.2.127). Here he asks her not to believe his love his fake.
At the end of the letter, Hamlet leaves a note saying not only that he loves her, but that he loves her more than any other. He uses "best" and "most" several times in line 128-132, displaying his value of Ophelia above all else. He still seems able, however, to bring in a bit of existential dread at the end. He claims to be hers forever "whilst this machine is to him," or, until his soul leaves his body.
It's difficult to verify or dispute Polonius's opinion on this letter, precisely because there's such a gap in information. One can't know when the letter was written, or in what context. If the letter was written after Hamlet's father had died, it would hold different implications than if it was written before. This can be said of almost any event in the play, which makes this letter all the more ambiguous. One can assume, through other clues in the play, that Hamlet is affectionate of Ophelia, but this letter cannot tell one to what degree.
Good madam, stay awhile. I will be faithful.
He reads the letter.
Doubt that the stars are fire,
Doubt that the sun doth move,
Doubt truth to be a liar,
But never doubt I love.
O dear Ophelia, I am ill at these numbers. I have not
art to reckon my groans, but that I love thee best, O
most best, believe it. Adieu.
Thine evermore, most dear lady, whilst
this machine is to him, Hamlet.
(2.2.123-132)
Polonius has thought for a while at this point that Hamlet's infatuation with Ophelia is the source of his strange behavior. Before Polonius shows this letter to the King and Queen, as he does in this passage, Ophelia comes to him with news of Hamlet's behavior. This includes, but is not limited to: appearing in ragged clothing during untimely hours, profoundly sighing, grabbing her wrist, and exiting rooms apparently without the aid of his eyes. Polonius is convinced that this behavior is entirely truthful, and that the contents of this letter prove his hunch.
Hamlet starts his love letter with a poem that he has composed himself, which is revealed through his complaining about his lack of skill: "I am ill at these numbers" is Hamlet saying he lacks dexterity in writing poetry (2.2.128). In his poem, he tells Ophelia to doubt several statements. His usage of "doubt" varies in connotation, however. In the first two lines of the poem, doubt implies skepticism of various truisms, while in the third it implies weariness towards the personified truth. In the fourth line, however, Hamlet implores Ophelia: "never doubt I love" (2.2.127). Here he asks her not to believe his love his fake.
At the end of the letter, Hamlet leaves a note saying not only that he loves her, but that he loves her more than any other. He uses "best" and "most" several times in line 128-132, displaying his value of Ophelia above all else. He still seems able, however, to bring in a bit of existential dread at the end. He claims to be hers forever "whilst this machine is to him," or, until his soul leaves his body.
It's difficult to verify or dispute Polonius's opinion on this letter, precisely because there's such a gap in information. One can't know when the letter was written, or in what context. If the letter was written after Hamlet's father had died, it would hold different implications than if it was written before. This can be said of almost any event in the play, which makes this letter all the more ambiguous. One can assume, through other clues in the play, that Hamlet is affectionate of Ophelia, but this letter cannot tell one to what degree.
Mad For Love
Ophelia: My lord, as I was sewing in my closet,
Lord Hamlet, with his doublet all unbraced;
No hat upon his head; his stockings foul'd,
Ungarter'd, and down-gyved to his ankle;
Pale as his shirt; his knees knocking each other;
And with a look so piteous in purport
As if he had been loosed out of hell
To speak of horrors,--he comes before me.Polonius: Mad for thy love?
Ophelia: My lord, I do not know; But truly, I do fear it. (Act II, Scene I, 79)
At this point in the play, Hamlet has just seen his father's ghost and been informed that he was murdered by his own brother and Hamlet's uncle. Obviously, Hamlet is quite shaken both from the sight of the apparition and also from the revelation of his father's murder by the new king. Hamlet feels scared and betrayed, so it is understandable that Hamlet may seem upset. In the previous scene, Hamlet told Horatio and the other guards that he was going to pretend to be mad from now on in order to discover the truth about his father's death. This makes it unclear whether or not Hamlet is acting or not when he goes to see Ophelia. Since Ophelia knows nothing about Hamlet's mission for revenge, she is frightened by Hamlet's deranged appearance.
To see the ghost, he had to wait outdoors with the guards all night, so it isn't surprising that he appears a bit disheveled. Ophelia describes that Hamlet has his "doublet all unbraced," and his "stockings foul'd," Due to what he has been doing and where he has been all night, his appearance isn't really surprising. However, Ophelia knows nothing of the ghost or it's message to Hamlet, so it is understandable that she would be surprised by his appearance. She also says that Hamlet was as "pale as his shirt" and his knees were "knocking each other". These are signs of great fear, which make sense because he has literally just seen a ghost. She describes that he looks "piteous," and "as if he had been loosed out of hell," This statement connects to the ghost and reminds the audience that Hamlet is dealing with matters of heaven and hell.
Hamlet is in love with Ophelia, who has been refusing to see him according to her father's wishes. It seems logical that after being terrified by his father's ghost and being told that his new stepfather killed him, Hamlet might seek out comfort in Ophelia. She is naive and innocent and Hamlet loves her. Hamlet could view her as a distraction from the horrors he is facing in his life. However, by going to her while still unhinged, he causes her and her father to believe that he has gone mad because Polonius has forbidden Ophelia to see him. Polonius believes that Hamlet is "mad for [Ophelia's] love" and Ophelia even admits that she is afraid it might be true.
The ghost of Hamlet's father has made a huge reveal to Hamlet. He is obviously very shaken after finding out about the murder and seeks the comfort of the woman he loves. However, because he doesn't trust women, he doesn't reveal to her the truth about what is going on with him. His lack of honesty, dishevelment, and shaken behavior lead Ophelia and her father to believe that Hamlet has become mad for love.
Lord Hamlet, with his doublet all unbraced;
No hat upon his head; his stockings foul'd,
Ungarter'd, and down-gyved to his ankle;
Pale as his shirt; his knees knocking each other;
And with a look so piteous in purport
As if he had been loosed out of hell
To speak of horrors,--he comes before me.Polonius: Mad for thy love?
Ophelia: My lord, I do not know; But truly, I do fear it. (Act II, Scene I, 79)
At this point in the play, Hamlet has just seen his father's ghost and been informed that he was murdered by his own brother and Hamlet's uncle. Obviously, Hamlet is quite shaken both from the sight of the apparition and also from the revelation of his father's murder by the new king. Hamlet feels scared and betrayed, so it is understandable that Hamlet may seem upset. In the previous scene, Hamlet told Horatio and the other guards that he was going to pretend to be mad from now on in order to discover the truth about his father's death. This makes it unclear whether or not Hamlet is acting or not when he goes to see Ophelia. Since Ophelia knows nothing about Hamlet's mission for revenge, she is frightened by Hamlet's deranged appearance.
To see the ghost, he had to wait outdoors with the guards all night, so it isn't surprising that he appears a bit disheveled. Ophelia describes that Hamlet has his "doublet all unbraced," and his "stockings foul'd," Due to what he has been doing and where he has been all night, his appearance isn't really surprising. However, Ophelia knows nothing of the ghost or it's message to Hamlet, so it is understandable that she would be surprised by his appearance. She also says that Hamlet was as "pale as his shirt" and his knees were "knocking each other". These are signs of great fear, which make sense because he has literally just seen a ghost. She describes that he looks "piteous," and "as if he had been loosed out of hell," This statement connects to the ghost and reminds the audience that Hamlet is dealing with matters of heaven and hell.
Hamlet is in love with Ophelia, who has been refusing to see him according to her father's wishes. It seems logical that after being terrified by his father's ghost and being told that his new stepfather killed him, Hamlet might seek out comfort in Ophelia. She is naive and innocent and Hamlet loves her. Hamlet could view her as a distraction from the horrors he is facing in his life. However, by going to her while still unhinged, he causes her and her father to believe that he has gone mad because Polonius has forbidden Ophelia to see him. Polonius believes that Hamlet is "mad for [Ophelia's] love" and Ophelia even admits that she is afraid it might be true.
The ghost of Hamlet's father has made a huge reveal to Hamlet. He is obviously very shaken after finding out about the murder and seeks the comfort of the woman he loves. However, because he doesn't trust women, he doesn't reveal to her the truth about what is going on with him. His lack of honesty, dishevelment, and shaken behavior lead Ophelia and her father to believe that Hamlet has become mad for love.
Monday, December 19, 2016
Yes Father
Ophelia:
No, my good lord, but as you did command
I did repel his letters and denied
His access to me.
Polonius:
That hath made him mad.
I am sorry that with better heed and judgement
I had not coted him. I feared he did but trifle
And meant to wrack thee. But beshrew my jealousy!
By heaven, it is proper to our age
To cast beyond ourselves in our opinions
As it is common for the younger sort
To lack discretion. Come, go we to the King.
This must be known, which, being kept close, might
move
More grief to hind than hate to utter love.
Come. (2.1. 120-134)
As the plot thickens it becomes evident that Hamlet has some serious issues and other characters are directly involved in these issues. Regardless of the nature or the level of attraction between the two, Hamlet and Ophelia have a sort of romantic connection. After seeing Hamlet after he saw the ghost of his father, Ophelia is shaken and reports to her father Polonius. This recount of the event, however, is questionable as Ophelia could have embellished the truth and been too overcome with emotion to think clearly. In this passage it is again unclear about how truthful Ophelia is being in her account. In addition to characterizing Ophelia's trustworthiness, this passage also characterizes Polonius and his tendency to dramatize everything and be overly verbose in speech.
Ophelia's part of this passage is brief and respectful. She addresses her father as 'good lord' which is indicative of their relationship. She clearly recognizes him as her superior and has a high level of veneration for him. The use of the woods 'command' and 'repel' are indicative of her intention. Both woods have strong connotations. The word 'command' is used in place of words such as 'asked' or 'requested' because it is non negotiable. This shows that Ophelia could not imagine not doing what her father says. The word 'repel' is used in place of words such as 'deny' or 'dismiss' because of its stronger, more assertive connotation. This passage shows that Ophelia may not be acting with her actual feelings. The formal tone shows that she would not dare cross her father which leaves room for question about her true feelings. Her father's response to her simple but powerful statement is indicative of his character.
From the beginning, Polonius has showed that he is a dramatic, eccentric, and verbose man. His response to his daughter's announcement that she rejected Hamlet's love furthers this characterization. Throughout this passage, Polonius uses more words than necessary on several occasions. For example, he says 'I am sorry with better heed and judgement I had not coted him'. He could have shorted this phrase and said the exact same thing by saying something along the lines of 'I am sorry I did not watch him close enough'. However, this wrap around way of saying this is what makes Polonius' character unique. It shows that he is not simple and does not let things go easily. It also shows how he likes being involved in problems and getting after people, such as Hamlet, who he believes deserve to be punished. Another example of Polonius being too verbose in this passage is 'this must be known, which, being kept close, might move more grief to hind than hate to utter love'. After reading this one may be confused about what the man is trying to say. It would be much simpler to express his feeling in fewer words such as 'we must reveal this secret to prevent more harm'. However, this would not be like Polonius.
This passage characterizes both Ophelia and Polonius. It reveals the nature of their relationship. The level at which readers should trust Ophelia's account of situations is challenged in this passage. Polonius deepens his verbose tendencies and still cannot simply get to the point.
No, my good lord, but as you did command
I did repel his letters and denied
His access to me.
Polonius:
That hath made him mad.
I am sorry that with better heed and judgement
I had not coted him. I feared he did but trifle
And meant to wrack thee. But beshrew my jealousy!
By heaven, it is proper to our age
To cast beyond ourselves in our opinions
As it is common for the younger sort
To lack discretion. Come, go we to the King.
This must be known, which, being kept close, might
move
More grief to hind than hate to utter love.
Come. (2.1. 120-134)
As the plot thickens it becomes evident that Hamlet has some serious issues and other characters are directly involved in these issues. Regardless of the nature or the level of attraction between the two, Hamlet and Ophelia have a sort of romantic connection. After seeing Hamlet after he saw the ghost of his father, Ophelia is shaken and reports to her father Polonius. This recount of the event, however, is questionable as Ophelia could have embellished the truth and been too overcome with emotion to think clearly. In this passage it is again unclear about how truthful Ophelia is being in her account. In addition to characterizing Ophelia's trustworthiness, this passage also characterizes Polonius and his tendency to dramatize everything and be overly verbose in speech.
Ophelia's part of this passage is brief and respectful. She addresses her father as 'good lord' which is indicative of their relationship. She clearly recognizes him as her superior and has a high level of veneration for him. The use of the woods 'command' and 'repel' are indicative of her intention. Both woods have strong connotations. The word 'command' is used in place of words such as 'asked' or 'requested' because it is non negotiable. This shows that Ophelia could not imagine not doing what her father says. The word 'repel' is used in place of words such as 'deny' or 'dismiss' because of its stronger, more assertive connotation. This passage shows that Ophelia may not be acting with her actual feelings. The formal tone shows that she would not dare cross her father which leaves room for question about her true feelings. Her father's response to her simple but powerful statement is indicative of his character.
From the beginning, Polonius has showed that he is a dramatic, eccentric, and verbose man. His response to his daughter's announcement that she rejected Hamlet's love furthers this characterization. Throughout this passage, Polonius uses more words than necessary on several occasions. For example, he says 'I am sorry with better heed and judgement I had not coted him'. He could have shorted this phrase and said the exact same thing by saying something along the lines of 'I am sorry I did not watch him close enough'. However, this wrap around way of saying this is what makes Polonius' character unique. It shows that he is not simple and does not let things go easily. It also shows how he likes being involved in problems and getting after people, such as Hamlet, who he believes deserve to be punished. Another example of Polonius being too verbose in this passage is 'this must be known, which, being kept close, might move more grief to hind than hate to utter love'. After reading this one may be confused about what the man is trying to say. It would be much simpler to express his feeling in fewer words such as 'we must reveal this secret to prevent more harm'. However, this would not be like Polonius.
This passage characterizes both Ophelia and Polonius. It reveals the nature of their relationship. The level at which readers should trust Ophelia's account of situations is challenged in this passage. Polonius deepens his verbose tendencies and still cannot simply get to the point.
The Fool
"POLONIUS:
My liege, and madam, to expostulate
What majesty should be, what duty is,
Why day is day, night is night, and time is time,
Were nothing but to waste night, day and time.
Therefore, since brevity is the soul of wit,
And tediousness the limbs and outward flourishes,
I will be brief: your noble son is mad:
Mad I call it; for, to define true madness,
What is't but to be nothing else but mad?
But let that go.
QUEEN:
More matter, with less art.
POLONIUS:
Madam, I swear I use no art at all.
That he is mad, 'tis true: 'tis true 'tis pity;
And pity 'tis 'tis true: a foolish figure;
But farewell it, for I will use no art.
Mad let us grant him, then: and now remains
That we find out the cause of this effect,
Or rather say, the cause of this defect,
For this effect defective comes by cause:
Thus it remains, and the remainder thus."
(2.2.93-112)
Shakespeare is a master of the theatrical archetype. He utilizes archetypal roles in almost every play, making statements about society or humanity using these characters. For example, Ophelia more or less fits the role of the ingenue in Hamlet: the young, beautiful woman being influenced by the men around her. The guards in the opening scene of Hamlet are heralds, introducing the conflict of the ghost and the political turmoil in Denmark. The role of the fool is played by Polonius, but the Shakespearean fool is uniquely complex. Polonius is a blundering and inarticulate fool, but there is a wise simplicity within his inanity.
Polonius is a ridiculous man, prone to distraction and long-windedness. He opens his speech to the king and queen by saying, in no less than seven lines, that he will state his purpose briefly (93-99). When Polonius continues, he loses track of what he is saying, repeating the same few words over and over again: "That he is mad, 'tis true: 'tis true 'tis pity; / And pity 'tis 'tis true" (105-106). He regains his thought process, deciding to accept Hamlet's mental state as the truth (108), and moves on to try to find the best way to state the cause of Hamlet's madness. In all of this, he uses too many words, loses his train of thought, all while trying to be respectful of the king and queen and still show his own importance.
Yet, within all his buffoonery, Polonius still manages to say things that are wise and thought-provoking. He states that "brevity is the soul of wit" (97), both contradicting his own actions and making an assertion that continues to be heavily quoted today (albeit out of context). In these few words, he sums up the core of much of Shakespeare's humor: short wittiness far surpasses the rambling joke or riddle. Polonius later asks, "to define true madness, / what is't to be nothing else but mad?" (100-101). This can be interpreted as a blundering question meant to make Polonius sound wiser than he is, but he strikes on the fool's distinguishable levity. Insanity can be seen as being complicated and hard to decipher, or it can be faced directly and addressed as simply being a state of relative mental obscurity. Madness is nothing but madness, and Polonius' blunt statement of such shows him to be a perfect example of Shakespeare's fool.
Traditionally, the archetype of the fool shows the lightness and happiness of life by never being serious, always playing jokes, and reminding people of their bodily impermanence. Shakespeare takes this role a step further, adding in an element of true wisdom and understanding to his fools, beneath all the buffoonery. While Polonius may come across as idiotic, he does convey some truth and wisdom in his long-winded speeches, and he does remind us of the levity and comedy of life.
My liege, and madam, to expostulate
What majesty should be, what duty is,
Why day is day, night is night, and time is time,
Were nothing but to waste night, day and time.
Therefore, since brevity is the soul of wit,
And tediousness the limbs and outward flourishes,
I will be brief: your noble son is mad:
Mad I call it; for, to define true madness,
What is't but to be nothing else but mad?
But let that go.
QUEEN:
More matter, with less art.
POLONIUS:
Madam, I swear I use no art at all.
That he is mad, 'tis true: 'tis true 'tis pity;
And pity 'tis 'tis true: a foolish figure;
But farewell it, for I will use no art.
Mad let us grant him, then: and now remains
That we find out the cause of this effect,
Or rather say, the cause of this defect,
For this effect defective comes by cause:
Thus it remains, and the remainder thus."
(2.2.93-112)
Shakespeare is a master of the theatrical archetype. He utilizes archetypal roles in almost every play, making statements about society or humanity using these characters. For example, Ophelia more or less fits the role of the ingenue in Hamlet: the young, beautiful woman being influenced by the men around her. The guards in the opening scene of Hamlet are heralds, introducing the conflict of the ghost and the political turmoil in Denmark. The role of the fool is played by Polonius, but the Shakespearean fool is uniquely complex. Polonius is a blundering and inarticulate fool, but there is a wise simplicity within his inanity.
Polonius is a ridiculous man, prone to distraction and long-windedness. He opens his speech to the king and queen by saying, in no less than seven lines, that he will state his purpose briefly (93-99). When Polonius continues, he loses track of what he is saying, repeating the same few words over and over again: "That he is mad, 'tis true: 'tis true 'tis pity; / And pity 'tis 'tis true" (105-106). He regains his thought process, deciding to accept Hamlet's mental state as the truth (108), and moves on to try to find the best way to state the cause of Hamlet's madness. In all of this, he uses too many words, loses his train of thought, all while trying to be respectful of the king and queen and still show his own importance.
Yet, within all his buffoonery, Polonius still manages to say things that are wise and thought-provoking. He states that "brevity is the soul of wit" (97), both contradicting his own actions and making an assertion that continues to be heavily quoted today (albeit out of context). In these few words, he sums up the core of much of Shakespeare's humor: short wittiness far surpasses the rambling joke or riddle. Polonius later asks, "to define true madness, / what is't to be nothing else but mad?" (100-101). This can be interpreted as a blundering question meant to make Polonius sound wiser than he is, but he strikes on the fool's distinguishable levity. Insanity can be seen as being complicated and hard to decipher, or it can be faced directly and addressed as simply being a state of relative mental obscurity. Madness is nothing but madness, and Polonius' blunt statement of such shows him to be a perfect example of Shakespeare's fool.
Traditionally, the archetype of the fool shows the lightness and happiness of life by never being serious, always playing jokes, and reminding people of their bodily impermanence. Shakespeare takes this role a step further, adding in an element of true wisdom and understanding to his fools, beneath all the buffoonery. While Polonius may come across as idiotic, he does convey some truth and wisdom in his long-winded speeches, and he does remind us of the levity and comedy of life.
Sunday, December 18, 2016
Real or Fake?
Act 2. Scene 1. 85-97
"OPHELIA: O, my lord, my lord, I have been so affrighted!
POLONIUS: With what, i'th' name of God?
OPHELIA: "My lord, as I was sewing in my closet,
Lord Hamlet, with his doublet all unbraced,
No hat upon his head, his stockings fouled,
Ungartered, and down-gyved to his ankle,
Pale as his shirt, his knees knocking each other,
And with a look so piteous in purport
As if he had been loosed out of hell
To speak of horrors -- he comes before me.
POLONIUS: Mad for thy love?
OPHELIA: My lord, I do not know,
But truly I do fear it."
Is this a made up visit by Hamlet or did it actually happen? This passage is one that involves much debate. Ophelia is speaking to her father and telling him of an odd occurrence with Hamlet that had made her weary of him and her love for him. However, this passage does seem to perhaps be just Ophelia attempting to cover up her true feelings for Hamlet in hopes that her father and brother will cease to nag her about her love interest.
This passage starts off with Ophelia expressing being "affrighted" to her father and seems to be very dramatic and disturbed. She seems to be very concerned and looks to her father for help and guidance, however, it does not seem all that realistic. If Ophelia truly loved Hamlet, would a surprise visit from him actually terrify to such an extent? To me, it seems slightly staged and rehearsed by Ophelia in hopes that her father with believe her. Of course, when one's daughter is that dramatic and concerned, it is only right to reply in a shocked and equally concerned manner with "what, i'th' name of God," signifying his utter confusion about the event.
After this response, Ophelia delved into the scene that took place between Hamlet and herself. She begins by respectfully referring to her father as "my lord" and continues by stating that she was simply "sewing in [her] closet," signifying that the visit from Hamlet was completely unexpected and that she was innocently completing womanly tasks when he arrived. She follows this up by describing Hamlet's dress and how disheveled he appeared. His "doublet all unbraced," "his stockings fouled," he had no hat; Hamlet was a disturbing mess to look at. Ophelia goes on to describe his pale complexion and knocking knees that disturbed her. She did not know how to react to his surprise appearance and made it seem as if she wanted nothing to do with Hamlet. She described the scene as one of "horrors" to her father who listens intently and then asks Ophelia if Hamlet is "mad for [Ophelia's] love" and wonders if that is why Hamlet is acting out in such unacceptable manners. Ophelia answers his question by claiming innocence and states that she does not know, but she "truly [does] fear it," as if protecting herself from criticism from her father. With this type of response, it seems like Ophelia is acting out this whole scenario and attempting to make her father see Hamlet in a different light, perhaps one that shows him as a man in love with her.
In this passage, it is unclear whether this appearance of Hamlet actually took place or whether is is made up by Ophelia to get a reaction out of her father. Ophelia clearly likes Hamlet and knows that her father and brother do not approve of this. If this scene is forged, it makes Hamlet seem like a man love struck for Ophelia, not one that will use her and forget about her like her family thinks. On the other hand, if this did truly happen, Ophelia's feelings towards Hamlet would be completely altered and this would cause confusion for the readers about how both she and Hamlet truly feel toward each other. This scene, to me, seems to be fictional because of the previous conversations with Ophelia and her father about Hamlet; Ophelia seems to be in love with Hamlet and Hamlet does not seem like to the type of man to show up looking like hell and talk to Ophelia randomly.
"OPHELIA: O, my lord, my lord, I have been so affrighted!
POLONIUS: With what, i'th' name of God?
OPHELIA: "My lord, as I was sewing in my closet,
Lord Hamlet, with his doublet all unbraced,
No hat upon his head, his stockings fouled,
Ungartered, and down-gyved to his ankle,
Pale as his shirt, his knees knocking each other,
And with a look so piteous in purport
As if he had been loosed out of hell
To speak of horrors -- he comes before me.
POLONIUS: Mad for thy love?
OPHELIA: My lord, I do not know,
But truly I do fear it."
Is this a made up visit by Hamlet or did it actually happen? This passage is one that involves much debate. Ophelia is speaking to her father and telling him of an odd occurrence with Hamlet that had made her weary of him and her love for him. However, this passage does seem to perhaps be just Ophelia attempting to cover up her true feelings for Hamlet in hopes that her father and brother will cease to nag her about her love interest.
This passage starts off with Ophelia expressing being "affrighted" to her father and seems to be very dramatic and disturbed. She seems to be very concerned and looks to her father for help and guidance, however, it does not seem all that realistic. If Ophelia truly loved Hamlet, would a surprise visit from him actually terrify to such an extent? To me, it seems slightly staged and rehearsed by Ophelia in hopes that her father with believe her. Of course, when one's daughter is that dramatic and concerned, it is only right to reply in a shocked and equally concerned manner with "what, i'th' name of God," signifying his utter confusion about the event.
After this response, Ophelia delved into the scene that took place between Hamlet and herself. She begins by respectfully referring to her father as "my lord" and continues by stating that she was simply "sewing in [her] closet," signifying that the visit from Hamlet was completely unexpected and that she was innocently completing womanly tasks when he arrived. She follows this up by describing Hamlet's dress and how disheveled he appeared. His "doublet all unbraced," "his stockings fouled," he had no hat; Hamlet was a disturbing mess to look at. Ophelia goes on to describe his pale complexion and knocking knees that disturbed her. She did not know how to react to his surprise appearance and made it seem as if she wanted nothing to do with Hamlet. She described the scene as one of "horrors" to her father who listens intently and then asks Ophelia if Hamlet is "mad for [Ophelia's] love" and wonders if that is why Hamlet is acting out in such unacceptable manners. Ophelia answers his question by claiming innocence and states that she does not know, but she "truly [does] fear it," as if protecting herself from criticism from her father. With this type of response, it seems like Ophelia is acting out this whole scenario and attempting to make her father see Hamlet in a different light, perhaps one that shows him as a man in love with her.
In this passage, it is unclear whether this appearance of Hamlet actually took place or whether is is made up by Ophelia to get a reaction out of her father. Ophelia clearly likes Hamlet and knows that her father and brother do not approve of this. If this scene is forged, it makes Hamlet seem like a man love struck for Ophelia, not one that will use her and forget about her like her family thinks. On the other hand, if this did truly happen, Ophelia's feelings towards Hamlet would be completely altered and this would cause confusion for the readers about how both she and Hamlet truly feel toward each other. This scene, to me, seems to be fictional because of the previous conversations with Ophelia and her father about Hamlet; Ophelia seems to be in love with Hamlet and Hamlet does not seem like to the type of man to show up looking like hell and talk to Ophelia randomly.
Thursday, December 15, 2016
Hamlet's Depression and Grief
Passage: O, that this too too solid flesh would melt
Thaw and resolve itself into a dew!
Or that the Everlasting had not fix'd
His canon 'gainst self-slaughter! O God! God!
How weary, stale, flat and unprofitable,
Seem to me all the uses of this world!
Fie on't! ah fie! 'tis an unweeded garden,
That grows to seed; things rank and gross in nature
Possess it merely. That it should come to this!
(Act I, Scene II, 29)
When we first meet Hamlet and see him on his own, the audience can clearly see that he is not in a good mental state. He is still grieving the recent death of his father as well as his mother's sudden remarriage and is also facing crippling depression. He has a very pessimistic outlook on life and is both angry at and mistrusting of those around him. Hamlet can see no escape or end to the pain he is feeling. The speech he makes in Act I Scene II clearly shows how unstable his mental state is at the opening of the play.
Hamlet opens his soliloquy by saying "O, that this too too solid flesh would melt thaw and resolve itself into a dew," which means that he is wishing that his physical body would literally melt and disappear so that he could die. Then he goes on to wish that God had not made suicide a mortal sin so that he could kill himself without going to Hell. This is incredibly troubling and it shows how desperate Hamlet feels. He is so miserable that he sees death as the only escape from his sorrow.
Hamlet continues this speech by describing his view of the world as "weary, flat, stale, and unprofitable". This bleak outlook on the world characterizes Hamlet and shows the effect his profound depression has on him. Hamlet is entirely incapable of seeing anything positive in the world. He calls the earth an "unweeded garden," which can be connected to the Garden of Eden. Before his father's death, he was happy and at peace. But since his father's death and his mother's remarriage, he feels as though he has fallen from grace just as Eve and Adam did.
Hamlet is clearly extremely depressed and very unstable at the opening of the play. This extreme grief and sadness is arguably why Hamlet is able to be lead to make the choices he makes. He is overcome by this sadness and begins to mistrust everyone including his own mother. Hamlet's mental instability is made clear from the beginning of the play.
Thaw and resolve itself into a dew!
Or that the Everlasting had not fix'd
His canon 'gainst self-slaughter! O God! God!
How weary, stale, flat and unprofitable,
Seem to me all the uses of this world!
Fie on't! ah fie! 'tis an unweeded garden,
That grows to seed; things rank and gross in nature
Possess it merely. That it should come to this!
(Act I, Scene II, 29)
When we first meet Hamlet and see him on his own, the audience can clearly see that he is not in a good mental state. He is still grieving the recent death of his father as well as his mother's sudden remarriage and is also facing crippling depression. He has a very pessimistic outlook on life and is both angry at and mistrusting of those around him. Hamlet can see no escape or end to the pain he is feeling. The speech he makes in Act I Scene II clearly shows how unstable his mental state is at the opening of the play.
Hamlet opens his soliloquy by saying "O, that this too too solid flesh would melt thaw and resolve itself into a dew," which means that he is wishing that his physical body would literally melt and disappear so that he could die. Then he goes on to wish that God had not made suicide a mortal sin so that he could kill himself without going to Hell. This is incredibly troubling and it shows how desperate Hamlet feels. He is so miserable that he sees death as the only escape from his sorrow.
Hamlet continues this speech by describing his view of the world as "weary, flat, stale, and unprofitable". This bleak outlook on the world characterizes Hamlet and shows the effect his profound depression has on him. Hamlet is entirely incapable of seeing anything positive in the world. He calls the earth an "unweeded garden," which can be connected to the Garden of Eden. Before his father's death, he was happy and at peace. But since his father's death and his mother's remarriage, he feels as though he has fallen from grace just as Eve and Adam did.
Hamlet is clearly extremely depressed and very unstable at the opening of the play. This extreme grief and sadness is arguably why Hamlet is able to be lead to make the choices he makes. He is overcome by this sadness and begins to mistrust everyone including his own mother. Hamlet's mental instability is made clear from the beginning of the play.
Wednesday, December 14, 2016
Unjust Murder
p. 59, lines 38-48
"Ghost: I find thee apt;
And duller shouldst thou be than the fat weed;
Wouldst thou not stir in this. Now, Hamlet, hear.
'Tis given out that, sleeping in my orchard,
A serpent that did sting thy father's life
Now wears his crown.
Hamlet: O, my prophetic soul! My uncle!"
Hamlet knows his father is dead and has been for over a month. However, what he does not know originally is the true persona of King Hamlet's killer. Young Hamlet is led to believe the king of Norway murdered the King of the Danes. Only when the ghost of King Hamlet appears does the son know the true nature of what occurred.
Hamlet and his friends know that the ghost is his father's because it's wearing the King's armour and has a similar scraggly, gray beard. The ghost will speak with none other than Hamlet, and speak with Hamlet it does. It describes a scene of tranquility and ignorance; while "sleeping in my orchard" indicates that the King was in a time of repast when he was attacked. Suddenly, "a serpent that did sting thy father's life" murdered the King on the spot. Now, there's a troupe of snakes being deceivers, sly, and embodying everything that is evil on this earth and beyond. In the biblical story, a snake convinced Eve to eat of the forbidden fruit, thus plunging her on the path of darkness and expelling her and Adam from the Garden of Eden. Snakes are often portrayed as the evil henchmen for villains in movies and books. Comparing Uncle Claudius to a snake is very apt, as he killed his brother, married his brother's wife, and deceived his subjects by convincing them that he is not the killer. However, people that are killed unjustly often seek revenge as ghosts. King Claudius presumably did not think of this possibility, and now stands to lose quite a bit for the oversight.
Hearing this news, Hamlet is furious, of course, exclaiming "O, my prophetic soul!". The same man who told him that everyone dies and it's just part of life and it's completely okay that I married your mother less than a month after your father died is the one who murdered his father. Certainly the murderer would want to sweep such a crime under the carpet. The problem is, dealing with situations in such a manner often comes back to haunt you; in this case literally. This conversation marks a turning point in how Hamlet views his uncle and life in general, as now he seeks to avenge his father's death.
"Ghost: I find thee apt;
And duller shouldst thou be than the fat weed;
Wouldst thou not stir in this. Now, Hamlet, hear.
'Tis given out that, sleeping in my orchard,
A serpent that did sting thy father's life
Now wears his crown.
Hamlet: O, my prophetic soul! My uncle!"
Hamlet knows his father is dead and has been for over a month. However, what he does not know originally is the true persona of King Hamlet's killer. Young Hamlet is led to believe the king of Norway murdered the King of the Danes. Only when the ghost of King Hamlet appears does the son know the true nature of what occurred.
Hamlet and his friends know that the ghost is his father's because it's wearing the King's armour and has a similar scraggly, gray beard. The ghost will speak with none other than Hamlet, and speak with Hamlet it does. It describes a scene of tranquility and ignorance; while "sleeping in my orchard" indicates that the King was in a time of repast when he was attacked. Suddenly, "a serpent that did sting thy father's life" murdered the King on the spot. Now, there's a troupe of snakes being deceivers, sly, and embodying everything that is evil on this earth and beyond. In the biblical story, a snake convinced Eve to eat of the forbidden fruit, thus plunging her on the path of darkness and expelling her and Adam from the Garden of Eden. Snakes are often portrayed as the evil henchmen for villains in movies and books. Comparing Uncle Claudius to a snake is very apt, as he killed his brother, married his brother's wife, and deceived his subjects by convincing them that he is not the killer. However, people that are killed unjustly often seek revenge as ghosts. King Claudius presumably did not think of this possibility, and now stands to lose quite a bit for the oversight.
Hearing this news, Hamlet is furious, of course, exclaiming "O, my prophetic soul!". The same man who told him that everyone dies and it's just part of life and it's completely okay that I married your mother less than a month after your father died is the one who murdered his father. Certainly the murderer would want to sweep such a crime under the carpet. The problem is, dealing with situations in such a manner often comes back to haunt you; in this case literally. This conversation marks a turning point in how Hamlet views his uncle and life in general, as now he seeks to avenge his father's death.
Hamlet's Obsessive Change
O all you host of heaven! O earth! What else?
And shall I couple hell? Oh, fie! Hold, hold, my heart,
And you, my sinews, grow not instant old,
But bear me stiffly up. Remember thee!
Ay, thou poor ghost, whiles memory holds a seat
In this distracted globe. Remember thee!
Yea, from the table of my memory
I’ll wipe away all trivial fond records,
All saws of books, all forms, all pressures past
That youth and observation copied there,
And thy commandment all alone shall live
Within the book and volume of my brain,
Unmixed with baser matter. Yes, by heaven!
O most pernicious woman!
O villain, villain, smiling, damnèd villain!
My tables!—Meet it is I set it down
That one may smile, and smile, and be a villain.
At least I’m sure it may be so in Denmark. (writes)
So, uncle, there you are. Now to my word.
It is “Adieu, adieu. Remember me.”
I have sworn ’t.
Until this point in the play, not much has been revealed on Hamlet’s character. We can tell by his passive aggressive remarks to and about his uncle that he is quite upset about most things. By his willingness to go see the ghost we can also see that he has a bit of hopelessness. However, both of these things are attributes of himself at the moment we meet him, but not attributes of his character in general. This passage reveals Hamlet’s pliability when it comes to changing his current situation, and his near obsessiveness towards finding a solution.
For most, swearing your life on a task given by a ghost would not seem reasonable. There are many possible reasons to doubt that the ghost is giving good advice. For example, the ghost was exceptionally and suspiciously adamant that the soldiers never tell of his having appeared, constantly interrupting with “swear” in trying to convince them to stay quiet. Also, no one has ever had experience with ghosts before, and yet Hamlet blindly trusts this one? I think this shows that no matter how believable the ghost may appear, Hamlet doesn’t want to do nothing about his uncle being King. The ghost wasn’t exceptionally persuasive, and yet Hamlet takes all of his words to heart. He promises to devote all of his thoughts and focus on getting revenge for his father very suddenly and follows through with this. He quickly changed his lifestyle (from a student to a person whose mom thinks might have gone crazy) for this one cause, showing that Hamlet doesn’t put much value in his own wants or hopes, if he even had any.
This passage also shows that Hamlet has an obsessive personality. When he becomes angry, he does not hold back in his emotions or insults. When he decides to get revenge, he stops thinking about or caring for any other aspect of his life. He seems unable to focus on more than one goal and instead puts all of his energy and time into one. He almost becomes excited at when planning his revenge, imagining the last moments as he strikes back at his uncle and says “Adieu, adieu. Remember me.”
This passage is very revealing of Hamlet’s character. He is easily molded by other’s ideas and will quickly cling to a thought. He doesn’t seem very concerned about his own future, but instead worries only about seeking revenge and cleaning up his current state. He is not suspicious of the ghost, though it would be logical to be so. However, he does seem suspicious of most other characters. This passage begins to develop Hamlet more as a person from the moody character he was previously portrayed as.
Unmanly Grief
“But to persever in obstinate condolement is a course of impious stubbornness. ‘Tis unmanly grief. It shows a will most incorrect to heaven, a heart unfortified, a mind impatient, an understanding simple and unschooled. For what we know must be and is as common as any the most vulgar thing to sense, why should we in our peevish opposition take it to heart?” -page 27
In this passage, King Claudius viciously berates Prince Hamlet for daring to continue mourning his father. A lot of this scene is spent discussing Hamlet’s grief and how ridiculous it is. It is claimed that he should put a stop to it in the interest of moving the Danish government forward, but there is another, deeper reason that Claudius is so intent on muffling Hamlet’s sadness--it is, as he himself puts it, unmanly.
“‘Tis unmanly grief,” Claudius tells Hamlet. Hamlet is supposed to be the prince of Denmark, a royal, and he cannot waste his time doing anything as feminine as crying. Besides “unmanly”, Hamlet is also referred to as “obstinate”, “unfortified”, “simple and unschooled”, “vulgar”, “peevish”, and “unprevailing”. These are all awful adjectives, ones that an uncle/stepfather should never use in reference to his nephew/stepson, but they can all also be used as derogatory terms for women. Stubborn. Stupid. At every turn, Hamlet is referred to as a horrible, disgusting thing--he is referred to as a woman.
Hamlet's First Soliloquy: Explicated
(page 29 Act 1 Scene 2 lines 134-164)
Hamlet:
"O, that this too, too solid flesh would melt,
Thaw, and resolve itself into a dew,
Or that the Everlasting had not fixed
His canon 'gainst <self-slaughter!> O God, O God,
How ,weary, stale, flat, and unprofitable
Seem to me all the uses of this world!
Fie on't, ah fie! 'Tis an unweeded garden,
That grows to seed. Things rank and gross in nature
Possess it merely. That it should come <to this>
But two months dead — nay, not so much, not two.
So excellent a king, that was, to this,
Hyperion to a satyr; so loving to my mother,
That he might not beteem the winds of heaven
Visit her face too roughly. Heaven and earth,
Must I remember? Why, she ,<would> hang on him
As if increase of appetite had grown
By what it fed on. And yet, within a month
(Let me not think on't; frailty, thy name is woman!)
A little month, or ere those shoes were old
With which she followed my poor father's body,
Like Niobe, all tears — why she, <even she>
(O God! a beast that wants discourse of reason
Would have mourn'd longer!), married with mine uncle,
My father's brother, but no more like my father
Than I to Hercules. Within a month,
Ere yet the salt of most unrighteous tears
Had left the flushing in her galled eyes,
She married. O, most wicked speed, to post
With such dexterity to incestuous sheets!
It is not, nor it cannot come to good;
But break my heart, for I must hold my tongue."
To note first, this is Hamlet's first soliloquy. This is important because how a character speaks when he/she is alone shows true characterization. This soliloquy gives a reader insight to the character's mind and in this case let's one see how much Hamlet thinks and the level of activity in his mind. Once that is deduced, one must look at the subject of his thoughts and then the word choices.
Hamlet's soliloquy is about his mother's betrayal. He emphasizes how gross it is, even calling it "incestuous". He shows how personally he took it because he thought of his father as a good man and "so loving to [his] mother". A "Hyperion" type man does not deserve what his mother did according to Hamlet. He thinks its was way too soon: "within a month... a little month". Hamlet is very displeased with the way his mother conducted herself regarding his father and her husband's death. He feels resentment to both her and his new step-father calling him a "satyr" . However dramatic, Hamlet feels very passionately about this topic and is not afraid to say it.
Hamlet's word choices in this passage make all the difference. His mother does not just move on with speed, but instead a "wicked speed". He says that women are "frail" because his mother could not act appropriately. He purposefully chooses mythological words to highlight his points. He starts off his solo speech (or in this case thoughts, but are spoken words due to the literary play) with very negative, imagery words. "Solid flesh would melt" sets up a tone that is not pleasing. "Self-slaughter", "weary", "stale", "flat", and "unprofitable" he uses to describe the world he is in. An "unweeded garden" is not successful and since he compares the world to it, it is implied that neither is the world. His mother would "hang" on his father. This undignifying word shows Hamlet's interpretation of his mother. Lastly Hamlet says he "must hold [his] tongue", which perfectly shows the reader why this passage is a soliloquy versus a monologue.
Hamlet:
"O, that this too, too solid flesh would melt,
Thaw, and resolve itself into a dew,
Or that the Everlasting had not fixed
His canon 'gainst <self-slaughter!> O God, O God,
How ,weary, stale, flat, and unprofitable
Seem to me all the uses of this world!
Fie on't, ah fie! 'Tis an unweeded garden,
That grows to seed. Things rank and gross in nature
Possess it merely. That it should come <to this>
But two months dead — nay, not so much, not two.
So excellent a king, that was, to this,
Hyperion to a satyr; so loving to my mother,
That he might not beteem the winds of heaven
Visit her face too roughly. Heaven and earth,
Must I remember? Why, she ,<would> hang on him
As if increase of appetite had grown
By what it fed on. And yet, within a month
(Let me not think on't; frailty, thy name is woman!)
A little month, or ere those shoes were old
With which she followed my poor father's body,
Like Niobe, all tears — why she, <even she>
(O God! a beast that wants discourse of reason
Would have mourn'd longer!), married with mine uncle,
My father's brother, but no more like my father
Than I to Hercules. Within a month,
Ere yet the salt of most unrighteous tears
Had left the flushing in her galled eyes,
She married. O, most wicked speed, to post
With such dexterity to incestuous sheets!
It is not, nor it cannot come to good;
But break my heart, for I must hold my tongue."
To note first, this is Hamlet's first soliloquy. This is important because how a character speaks when he/she is alone shows true characterization. This soliloquy gives a reader insight to the character's mind and in this case let's one see how much Hamlet thinks and the level of activity in his mind. Once that is deduced, one must look at the subject of his thoughts and then the word choices.
Hamlet's soliloquy is about his mother's betrayal. He emphasizes how gross it is, even calling it "incestuous". He shows how personally he took it because he thought of his father as a good man and "so loving to [his] mother". A "Hyperion" type man does not deserve what his mother did according to Hamlet. He thinks its was way too soon: "within a month... a little month". Hamlet is very displeased with the way his mother conducted herself regarding his father and her husband's death. He feels resentment to both her and his new step-father calling him a "satyr" . However dramatic, Hamlet feels very passionately about this topic and is not afraid to say it.
Hamlet's word choices in this passage make all the difference. His mother does not just move on with speed, but instead a "wicked speed". He says that women are "frail" because his mother could not act appropriately. He purposefully chooses mythological words to highlight his points. He starts off his solo speech (or in this case thoughts, but are spoken words due to the literary play) with very negative, imagery words. "Solid flesh would melt" sets up a tone that is not pleasing. "Self-slaughter", "weary", "stale", "flat", and "unprofitable" he uses to describe the world he is in. An "unweeded garden" is not successful and since he compares the world to it, it is implied that neither is the world. His mother would "hang" on his father. This undignifying word shows Hamlet's interpretation of his mother. Lastly Hamlet says he "must hold [his] tongue", which perfectly shows the reader why this passage is a soliloquy versus a monologue.
The Accoutrements of Grief
HAMLET:
"Seems," madam? Nay, it is. I know not "seems."
'Tis not alone my inky cloak, good mother,
Nor customary suits of solemn black,
Nor windy suspiration of forced breath,
No, nor the fruitful river in the eye,
Nor the dejected havior of the visage,
Together with all forms, moods,shapes of grief,
That can denote me truly. These indeed "seem,"
For they are actions that a man might play;
But I have that within which passes show,
These but the trappings and the suits of woe."
(1.2.79-89)
Hamlet's uncle, Claudius, marries his mother, Gertrude, less than two months after Hamlet's father dies. Hamlet takes the death much harder than his mother does, as one can assume due to her quick and somewhat disconcerting marriage to Claudius. Since Old King Hamlet's death, Hamlet has been wearing black, the color of mourning in most western cultures, and moping around with self-pity. Here, he responds to his mother questioning him on why he still wears such dismal clothing and why his mourning seems so distinct and personal. In his answer, he shows his poor emotional state as well as his regard for his mother's actions.
Hamlet begins his response by criticizing his mother's words. Claiming "I know not 'seems,'" he implies that his actions are obviously justified (1.2.79). This is particularly biting, as he is essentially insulting his mother's obliviousness to his emotional state and her lack of sharing that same sense of mourning. He says that his mourning is in fact deeply personal, and that there's nothing unusual about it.
To justify his outward appearance, Hamlet affirms it is his emotions that dictate how he presents himself. It is not his "suits of solemn black," his "fruitful river in the eye," tears or watery eyes, that is, nor his "suspiration," or sighing that define his grief (1.2.81-83). Rather, it is his mental or emotional state. He harbors the grief inside him that show his visible expressions as "the trappings and the suits of woe" (1.2.89). In other words, all that Hamlet displays to the world is just a husk of what he actually feels.
This passage characterizes not only Hamlet's profound feeling of emotion, but also how he regards his mother after her quick marriage to Claudius. His portrayal of his external image as insignificant compared to what he really feels shows his sensitivity to his emotions. It seems he is rather insensitive to those of others (or at least his mother's), however, when he provides a sharp and ill-intended response to his mother's concerns. In this passage, Hamlet provides some of the first clues to his emotional state and personality.
"Seems," madam? Nay, it is. I know not "seems."
'Tis not alone my inky cloak, good mother,
Nor customary suits of solemn black,
Nor windy suspiration of forced breath,
No, nor the fruitful river in the eye,
Nor the dejected havior of the visage,
Together with all forms, moods,shapes of grief,
That can denote me truly. These indeed "seem,"
For they are actions that a man might play;
But I have that within which passes show,
These but the trappings and the suits of woe."
(1.2.79-89)
Hamlet's uncle, Claudius, marries his mother, Gertrude, less than two months after Hamlet's father dies. Hamlet takes the death much harder than his mother does, as one can assume due to her quick and somewhat disconcerting marriage to Claudius. Since Old King Hamlet's death, Hamlet has been wearing black, the color of mourning in most western cultures, and moping around with self-pity. Here, he responds to his mother questioning him on why he still wears such dismal clothing and why his mourning seems so distinct and personal. In his answer, he shows his poor emotional state as well as his regard for his mother's actions.
Hamlet begins his response by criticizing his mother's words. Claiming "I know not 'seems,'" he implies that his actions are obviously justified (1.2.79). This is particularly biting, as he is essentially insulting his mother's obliviousness to his emotional state and her lack of sharing that same sense of mourning. He says that his mourning is in fact deeply personal, and that there's nothing unusual about it.
To justify his outward appearance, Hamlet affirms it is his emotions that dictate how he presents himself. It is not his "suits of solemn black," his "fruitful river in the eye," tears or watery eyes, that is, nor his "suspiration," or sighing that define his grief (1.2.81-83). Rather, it is his mental or emotional state. He harbors the grief inside him that show his visible expressions as "the trappings and the suits of woe" (1.2.89). In other words, all that Hamlet displays to the world is just a husk of what he actually feels.
This passage characterizes not only Hamlet's profound feeling of emotion, but also how he regards his mother after her quick marriage to Claudius. His portrayal of his external image as insignificant compared to what he really feels shows his sensitivity to his emotions. It seems he is rather insensitive to those of others (or at least his mother's), however, when he provides a sharp and ill-intended response to his mother's concerns. In this passage, Hamlet provides some of the first clues to his emotional state and personality.
Tuesday, December 13, 2016
Laertes and Ophelia
LAERTES:
"Then, if he says he loves you,
It fits your wisdom so far to believe it
As he in his particular act and place
May give his saying deed, which is no further
Than the main voice in Denmark goes withal.
Then weigh what loss your honor may sustain
If with too credent ear you list his songs
Or lose your heart or your chaste treasure open
To his unmastered importunity.
Fear it, Ophelia; fear it, my dear sister,
And keep you in the rear of your affection.
Put of the shot and danger of desire.
The chariest maid is prodigal enough
If she unmask her beauty to the moon." (Act 1. Scene 3. 27-41)
Young Ophelia is madly in love with Hamlet, a young man that her brother, Laertes, and her father, Polonius, do not approve of. Ophelia seems to see only the good and beautiful in Hamlet while her father and brother see only the dangers and poor fortunes they believe her heart will succumb to. They fear that Ophelia will become a passing love affair for Hamlet while she becomes completely immersed in their relationship and his fading affection for her.
Laertes believes his sister to be oblivious to the dangers of a relationship with Hamlet, saying that "it fits [her] wisdom] to believe him if he told her that he loved her. He doesn't seem to have faith in Ophelia's judgment and inexperienced heart. As he continues, he alludes to Hamlet's lack of consistency in relationships by stating that his words and actions are "no further than the main voice in Denmark," insinuating that his words and actions do not have depth and cannot be followed or believed wholly. Laertes also tells his sister to "weigh what loss your honor may sustain," implying that her potential relationship with Hamlet will fail and harm her honor and reputation immensely. It seems as if he is more concerned with Ophelia's reputation being tarnished than her heart being broken. Laertes does not want his sister's name and their family name itself to suffer, and neither does his father.
Within the next couple of lines, Laertes touches upon the purity and innocence of his sister and the possibility of her losing this to Hamlet. His words, "lose your heart or your chaste treasure open," refer to Ophelia giving Hamlet her heart and virginity without even a second thought. Laertes does not want his sister to be taken advantage of and scrapped aside by Hamlet for a quick fling, he knows that his sister is better than this and deserves more from a man and his "mastered importunity," implying that he is an inexperienced and selfish lover. Laertes repeated to his sister to "fear" Hamlet's love for her and urges her to "keep [herself] in the rear of [her] affection," meaning to pay attention to her own needs and desires before Hamlet's. Laertes wants Ophelia to always protect herself. He also urges her to remember the "danger of desire" when she's with Hamlet so that she does not become involved with him and regret it afterwards once Hamlet breaks her heart.
Laertes closes this statement with a final, summarizing phrase: "The chariest maid is prodigal enough
If she unmask her beauty to the moon." With these words, he is trying to make one final attempt at convincing Ophelia to stay away from Hamlet. He informs her that only she is responsible for what happens between them because she has the ability to convey her beauty as she chooses to. Laertes is nearly begging at this point for Ophelia to refrain from her relationship with Hamlet but does not seem hopeful that she will listen.
Monday, December 12, 2016
The Madness Within
HAMLET:
"O all you host of heaven! O earth! What else?
And shall I couple hell? O fie! Hold, hold, my heart,
And you, my sinews, grow not instant old,
But bear me stiffly up. Remember thee?
Ay, thou pour ghost, whiles memory holds a seat
In this distracted globe. Remember thee?
Yea, from the table of my memory
I'll wipe away all trivial, fond records,
All saws of books, all forms, all pressures past,
That youth and observation copied there,
And thy commandment all alone shall live
Within the book and volume of my brain,
Unmixed with baser matter."
(1.5.99-111)
Because there is no non-dialogue description of characters or events in plays (these things being demonstrated by the production of the work) there must be some assumptions made when reading plays. This allows for directorial interpretation of characters and their emotional and physical states. A figure of grief, entirely obsessed with the events surrounding his father's death, Hamlet's monologue after his talk with the ghost of his father supports theories that he is going mad.
The monologue begins after old Hamlet's ghost has left his son, beseeching him to remember what has been said between them. Hamlet immediately calls, desperately and sarcastically, to the "hosts of heaven" (angels and saints, presumably) and to the earth to bring even more shocking news (1.5.99). He asks if he will "couple hell," meaning that he is questioning the fate of his soul (1.5.100). These are quite natural reactions to an encounter with the ghost of one's father, especially when said ghost reveals that he was killed by his own brother, who has now married the ghost's wife. Hamlet's reaction to these things is understandable, but depending on the choices of the director and the actor, these words could be made more or less desperate and panicked.
Hamlet also speaks to himself, appealing to his inner strength. He tells his heart to "hold" and his "sinews" to "grow not instant old, / But bear [him] stiffly up" (1.5.100-102). In translation, he is trying to calm his emotions and keep his body strong and stable. This could be simply an attempt to steady himself. However, the director could have made the choice to show Hamlet in Act I as very feeble due to poor self-care since the death of his father. Depending on the choices made with Hamlet's appearance and way of carrying himself, these few lines, and the lines that follow, can be interpreted as representative of Hamlet's madness.
For the rest of the monologue, Hamlet swears to his father that he will remember what has been revealed to and asked of him. He repeatedly asks, "Remember thee?", as if doubtful that he could do anything else (1.5.102,104). He not only promises to remember -- he says that he will remove all other memories from "the table of [his] memory" so that his father's "commandment all alone shall live [there]. . . unmixed with baser matter" (1.5.105,109-111). Whether this is Hamlet's -- and Shakespeare's -- natural dramaticism or Hamlet's insane preoccupation with his father's death is determined by the decisions of the director and the actor. Hamlet could be making a measured and rational oath, or he could be whipping himself up into a passion about avenging his father's death.
Hamlet's sanity is completely unregulated by the script. Hamlet can be interpreted as a hero and martyr, or as a madman and murderer. The decision has to be made for each production of the play, because Hamlet's sanity or madness must also entirely shape the audience's understanding of the play. The reality of the ghost's appearance, the relationship between Ophelia and Hamlet, and the audience's perspective of Claudius are all dependent on the audience's interpretation of Hamlet and his state of mind.
"O all you host of heaven! O earth! What else?
And shall I couple hell? O fie! Hold, hold, my heart,
And you, my sinews, grow not instant old,
But bear me stiffly up. Remember thee?
Ay, thou pour ghost, whiles memory holds a seat
In this distracted globe. Remember thee?
Yea, from the table of my memory
I'll wipe away all trivial, fond records,
All saws of books, all forms, all pressures past,
That youth and observation copied there,
And thy commandment all alone shall live
Within the book and volume of my brain,
Unmixed with baser matter."
(1.5.99-111)
Because there is no non-dialogue description of characters or events in plays (these things being demonstrated by the production of the work) there must be some assumptions made when reading plays. This allows for directorial interpretation of characters and their emotional and physical states. A figure of grief, entirely obsessed with the events surrounding his father's death, Hamlet's monologue after his talk with the ghost of his father supports theories that he is going mad.
The monologue begins after old Hamlet's ghost has left his son, beseeching him to remember what has been said between them. Hamlet immediately calls, desperately and sarcastically, to the "hosts of heaven" (angels and saints, presumably) and to the earth to bring even more shocking news (1.5.99). He asks if he will "couple hell," meaning that he is questioning the fate of his soul (1.5.100). These are quite natural reactions to an encounter with the ghost of one's father, especially when said ghost reveals that he was killed by his own brother, who has now married the ghost's wife. Hamlet's reaction to these things is understandable, but depending on the choices of the director and the actor, these words could be made more or less desperate and panicked.
Hamlet also speaks to himself, appealing to his inner strength. He tells his heart to "hold" and his "sinews" to "grow not instant old, / But bear [him] stiffly up" (1.5.100-102). In translation, he is trying to calm his emotions and keep his body strong and stable. This could be simply an attempt to steady himself. However, the director could have made the choice to show Hamlet in Act I as very feeble due to poor self-care since the death of his father. Depending on the choices made with Hamlet's appearance and way of carrying himself, these few lines, and the lines that follow, can be interpreted as representative of Hamlet's madness.
For the rest of the monologue, Hamlet swears to his father that he will remember what has been revealed to and asked of him. He repeatedly asks, "Remember thee?", as if doubtful that he could do anything else (1.5.102,104). He not only promises to remember -- he says that he will remove all other memories from "the table of [his] memory" so that his father's "commandment all alone shall live [there]. . . unmixed with baser matter" (1.5.105,109-111). Whether this is Hamlet's -- and Shakespeare's -- natural dramaticism or Hamlet's insane preoccupation with his father's death is determined by the decisions of the director and the actor. Hamlet could be making a measured and rational oath, or he could be whipping himself up into a passion about avenging his father's death.
Hamlet's sanity is completely unregulated by the script. Hamlet can be interpreted as a hero and martyr, or as a madman and murderer. The decision has to be made for each production of the play, because Hamlet's sanity or madness must also entirely shape the audience's understanding of the play. The reality of the ghost's appearance, the relationship between Ophelia and Hamlet, and the audience's perspective of Claudius are all dependent on the audience's interpretation of Hamlet and his state of mind.
Are You My Uncle or My Father ?
Passage: Like Niobe, all tears-why she, <even she>
(O God, a beast that wants discourse of reason
Would have mourned longer!), married with my 155
uncle,
My father's brother, but no more like my father
than I to Hercules. Within a month,
Ere yet the salt of most unrighteous tears
Had left the flushing in her galled eyes, 160
She married. O, most wicked speed, to post
With such dexterity to incestuous sheets!
It is not, nor it cannot come to good.
But break, my heart, for I must hold my tongue (Act 1. Sc. 2. 31).
The plot of Hamlet breaks out amidst a tumultuous time for the royal family. King Hamlet has recently died and his brother, King Claudius, is to marry his widowed wife, Queen Gertrude. As expected when one's uncle marries one's mother, young Hamlet is distraught about the matter and is struggling to except it as reality. The passage above begins to develop Hamlet as a character in general and characterizes his feelings about the marriage.
The passage shows that Hamlet is a thoughtful and educated individual. Hamlet compares his mother to Niobe, a character in Greek mythology. After all fourteen of her children were killed as a result of her making fun of another goddess' two children, Niobe turned into a rock which became well-known as the Weeping Rock. By comparing his mother to this deceitful, wicked character, Hamlet reveals his education on Greek mythology and his ability to relate it to his own life. Hamlet once again references Greek mythology when he says "my father's brother, but no more like my father than I to Hercules" in lines 157 & 158. He shows how he knows how irrational it would be for him to be Hercules' father and makes the direct comparison to himself and his uncle, King Claudius. His ability to understand and apply characters from Greek mythology to his life shows that he is a thoughtful and intelligent individual.
The language Hamlet uses when talking about the marriage between his mother and uncle characterizes his opinion about the marriage and shows that he is a passionate individual. In lines 154 & 155, Hamlet says that "a beast that wants discourse of reason would have have mourned longer". By saying that a "beast" would have mourned longer shows that he thinks that his mother and uncle did not mourn the death of his father for an appropriate amount of time. By labeling the tears of his mother as "unrighteous", Hamlet makes a powerful statement. He basically is saying that the tears his mother cries and wicked and not genuine. He does not think that the tears can be genuine if she so quickly decided to marry her late husband's brother. Line 162, "with such dexterity to incestuous sheets!", perfectly summarizes Hamlet's feelings. The word "dexterity" shows that Hamlet is disgusted by how efficiently his mother and uncle took to bed. By calling the sheets "incestuous", Hamlet makes that assertion that he is totally disgusted by the marriage and looks at the situation as if it is incest. The powerfully, passionate language that Hamlet uses as he describes the marriage characterizes himself and his opinions on the recent marriage.
The passage reveals a lot about Hamlet as a character and his thought process in tricky situations. His utilization of Greek mythology shows thoughtfulness and intelligence. The words he uses to describe the marriage between his mother and uncle reveal how he is not a big fan of calling his uncle dad. The passion he shows when describing his feelings indicate the kind of character he will be for the rest of the play.
(O God, a beast that wants discourse of reason
Would have mourned longer!), married with my 155
uncle,
My father's brother, but no more like my father
than I to Hercules. Within a month,
Ere yet the salt of most unrighteous tears
Had left the flushing in her galled eyes, 160
She married. O, most wicked speed, to post
With such dexterity to incestuous sheets!
It is not, nor it cannot come to good.
But break, my heart, for I must hold my tongue (Act 1. Sc. 2. 31).
The plot of Hamlet breaks out amidst a tumultuous time for the royal family. King Hamlet has recently died and his brother, King Claudius, is to marry his widowed wife, Queen Gertrude. As expected when one's uncle marries one's mother, young Hamlet is distraught about the matter and is struggling to except it as reality. The passage above begins to develop Hamlet as a character in general and characterizes his feelings about the marriage.
The passage shows that Hamlet is a thoughtful and educated individual. Hamlet compares his mother to Niobe, a character in Greek mythology. After all fourteen of her children were killed as a result of her making fun of another goddess' two children, Niobe turned into a rock which became well-known as the Weeping Rock. By comparing his mother to this deceitful, wicked character, Hamlet reveals his education on Greek mythology and his ability to relate it to his own life. Hamlet once again references Greek mythology when he says "my father's brother, but no more like my father than I to Hercules" in lines 157 & 158. He shows how he knows how irrational it would be for him to be Hercules' father and makes the direct comparison to himself and his uncle, King Claudius. His ability to understand and apply characters from Greek mythology to his life shows that he is a thoughtful and intelligent individual.
The language Hamlet uses when talking about the marriage between his mother and uncle characterizes his opinion about the marriage and shows that he is a passionate individual. In lines 154 & 155, Hamlet says that "a beast that wants discourse of reason would have have mourned longer". By saying that a "beast" would have mourned longer shows that he thinks that his mother and uncle did not mourn the death of his father for an appropriate amount of time. By labeling the tears of his mother as "unrighteous", Hamlet makes a powerful statement. He basically is saying that the tears his mother cries and wicked and not genuine. He does not think that the tears can be genuine if she so quickly decided to marry her late husband's brother. Line 162, "with such dexterity to incestuous sheets!", perfectly summarizes Hamlet's feelings. The word "dexterity" shows that Hamlet is disgusted by how efficiently his mother and uncle took to bed. By calling the sheets "incestuous", Hamlet makes that assertion that he is totally disgusted by the marriage and looks at the situation as if it is incest. The powerfully, passionate language that Hamlet uses as he describes the marriage characterizes himself and his opinions on the recent marriage.
The passage reveals a lot about Hamlet as a character and his thought process in tricky situations. His utilization of Greek mythology shows thoughtfulness and intelligence. The words he uses to describe the marriage between his mother and uncle reveal how he is not a big fan of calling his uncle dad. The passion he shows when describing his feelings indicate the kind of character he will be for the rest of the play.
Saturday, December 3, 2016
Emotional Appeals
The three film adaptions of Jane Eyre that we watched in class each took aspects of the novel and either lessened them or enhanced them. Two of these aspects that I found most important were the emotional appeal of Jane's struggles with reason and passion and the portrayal of nature. Along with these, I weighed cinematography, setting, and soundtrack in how much I liked each one. I can't choose a favorite, because in some I love adult Jane and dislike the portrayal of her childhood, and in others it is the opposite. Personally, I most enjoyed Franco Zeffirelli's 1996 adaptation in terms of Jane's childhood, while I preferred Susanna White's 2006 adaptation in terms of her adulthood.
In all honesty, the only reason I prefer Zeffirelli's portrayal of Jane's childhood is because every other director's portrayal of it is absolutely ridiculous. Nothing really stood out as fantastic in Zeffirelli's version, but nothing stood out as terrible either. He dramatized and combined a couple of events to be efficient, but nothing wandered too far away from the novel. In White's version, the film opens with Jane standing in a red robe in a desert. If that isn't wandering away from the novel, I don't know what is. This version also dramatized every scene in Jane's childhood to the point of absurdity. I think the portrayal of the red room in this version is what really did it for me, I just couldn't take the red lighting seriously. In fact, the red room was what did it for me in the other version as well. Cary Fukunaga's 2011 adaptation has a red room that is not red, and that apparently has a ghost that lives in the chimney. Jane also knocked herself out in this one, which I found really strange. In short: Zeffirelli's appealed to me because it wasn't gaudy.
I prefer White's adaptation for Jane's adulthood really for only one scene. The proposal in this version struck me as more emotionally appealing than any of the others, and I'm a sucker for emotionally appealing movies. This version was so much more appealing to me because of how Jane expressed her emotions. In both other versions we watched, Jane still seemed controlled to some degree. In the novel, Jane claims that her emotions had taken complete control of her and that she had almost lost free will during this scene. I think White's version does a significantly better job of showing Jane's surrender to her emotions than the other films do (also, the other two just weren't very moving).
I haven't given anything to the last (Fukunaga's) version yet, so I will say that I enjoyed the soundtrack more than any of the other movies. I also enjoyed the scenery and cinematography in this adaptation as well. The flaw I found in this version, however, is that nothing really moved me. I think that's because it felt like there was a lack of vulnerability in the characters, and that's what I enjoyed so much about White's version (of the proposal, I guess). It appears that in order for a film to appeal to me, emotional appeals are the most important factor.
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