In-class acting: Hamlet & Ghost

Adam and I decided to act out the first encounter between Hamlet and his father, the ghost the way we did because we wanted to show the vengeance a son would toward the killer have when seeing his dead father in a ghostly form, and the parenting aspect Hamlet Sr. would have when talking to son.  First of all, when someone thinks of a ghost, they think of haunted evil spirits, however, we acted our scene out so that Hamlet wasn't frightened by his fathers ghost.  We did this because we wanted to show that he loved his father, and was willing to do anything for his to get vengeance.  For example, if a child is hospitalized because he was beat up by a kid, the child's parents want nothing other than to see their son get better and to find the kid who committed the crime, and gain justice.  Similar to this situation, Hamlet saw his father dead, and he was so furious that he couldn't even hold his father again that he was sad and vengeful at the same time, thus, furious to see his dad in that state.  So, when we acted our Hamlet and Hamlet Sr. (ghost), we did it in a way that expressed Hamlet's anger and vengeance because of seeing his father like this, and also expressed the ghost's concern for his son, and how he didn't want him to do something stupid.  

Question 9 and 7, 10-28-10

9)  In Hamlet's first monologue, the reader not only learns a lot about Hamlet's personality through diction, but also through the uses of strong imagery.  First off, it is important to note Hamlet's inconsistency with speech and how his mind is all over the place.  Hamlet's thought in is first soliloquy are on no path, they are just everywhere!  First he talks about his fathers death using diction that entails time, and eternal things like G-d.  "Everlasting" refers to G-d, "But two months" refers to his fathers death, and "O G-d! O G-d!" is when he is talking to the everlasting beings that listen.  Moreover, the dashes in the speech of Hamlet express his non-consistency in speech and lack of fluidity.  Next, Hamlet's use of vivid imagery such as "Ere yet the salt of most unrighteous tears" to indicate to the audience and reader the mental state he is in, and his deep depression.

7)  In Hamlet, the themes of chaos and order are very central to the conflict of the play and reveal dominant themes because of their ability to shape characters such as Hamlet.  First, it is important to realize that the two reflect on one another, when there isn't chaos there is order, and vice versa.  Also, while there seems to be order when Claudius is king, there is actual chaos, especially in the mind of Hamlet.  Hamlet is so furious with the murder of his father that he is willing to do anything he can to gain vengeance, a central theme in the play.  

Page 830: #7 & #14

7)  First of all, it is important to understand that Hamlet is a brilliant man with a brilliant mind.  Not only can the reader infer this because of his obvious education, but he also speaks with "nobility" in his tone.  He has an air of superiority in his speech, yet humble, and is a very well-educated man.  With that said, Hamlet's "antic disposition" is absolutely deliberate and planned.  First, "To put and antic disposition on" clearly shows that Hamlet has this on his mind.  So, it is evident through his speech that he does this on purpose, in an ultimate plot to gain vengeance on "King" Claudius.  Finally, since Hamlet refers to it in his speech, and is trying to gain vengeance on Claudius, his "antic disposition" is on purpose.

14)  When Hamlet says "Why, then, 'tis none to you; for there is nothing either good or bad but thinking makes it so", he is admitting that he is acting (at least to the reader) through his diction.  Hamlet yearns for his father, and admits that he has felt hollow since his absence.  Also, Hamlet means that this world we live in hold no truths.  Also, Hamlet says that Denmark is a prison for his, so a bad; however, another citizen there may love Denmark and consider it a good.  Next, Hamlet is aware of his ability to conceal his lack of emotion by acting crazy, thus, proving sanity.  He should be care though, for he who acts crazy long enough may eventually be taken in by it.  

HW #4: Page 830

What is the basis for both Laertes's and Polonius's objections to Ophelia's relationship with Hamlet? Which of their arguments seems most (and least) persuasive or fair? What does their treatment of Ophelia in act I, scene iii reveal about their motivations? What does it suggests about their attitude toward Ophelia and toward women in general? How does class or station function in their arguments?

First, it is important to take into consideration the relationship between Laertes and Ophelia, and that they are brother and sister.  Just as any protective brother would do, myself included, a brother wants to protect a sister from the true intentions of a man.  So, when the issue about Hamlet is addressed to Ophelia from her brother (Laertes) and her father ( Polonius), the issue of male hormones and royalty obligations are brought up.  First, Laertes says to his sister that because Hamlet is a man who is "on the prowl", he may tell Ophelia that he loves her, but that his love is temporary and to "Hold it a fashion and a toy in blood...".  Laertes is telling Ophelia that this whole "love" thing between Hamlet and his sister is just a big flirtation.  Moreover, Laertes says "sweet, not lasting" when referring to the "love".  By this, he means that love is cute a petty but that it wont last "more than a minute".  He also warns his sister because he says that since Hamlet is royalty, he needs to find a spouse.  So, he is suggesting that Hamlet's love for Ophelia is also because he has obligations to uphold as royalty.  Lastly, Laertes says that Ophelia should watch out and not lose her virginity to Hamlet because he is full of lust.  Next, comes Polonius.  Right after Laertes leaves, he asks his daughter "what were you talking about".  Polonius then makes the argument that many people have been warning him about Ophelia and Hamlet and Polonius tells her that as his daughter, she should be restricted.  He then insults Ophelia by saying you're a fool for falling for him, he is just trying to have some fun.  I think that Laertes has a better and more personal argument.  This shows that think that women are items to be used for sex, and class plays into their arguments because they both make the claim that Hamlet has an obligation, as royalty, to find a wife.

"King" Claudius: The "well-intentioned" manipulator

In Hamlet, the speeches and monologues of King Claudius make the reader and audience aware of the recently appointed King's true intentions, as well has his actual demeanor.  After secretly murdering his brother, poor-intentioned Claudius has taken over the thrown and is now step-father to Hamlet and Husband to Gertrude, his old sister-in-law.   When the King appoints his peers, and speaks publicly, one question that always pops into the mind of  the reader and audience is: "is this how a king really is?"  From the second we meet Claudius, an air of selfishness and greed exude from his pores.  First, Claudius suspiciously brushes off the death of his brother with a light tone, using syntax that pulls the reader, audience, and peers of Claudius away from the state of mourning.  Also, Claudius speaks with such arrogance and power, as if he is the best and most dominant man around, that the individuals around him, including the reader and audience, want to know if that is how a king really is.  Claudius uses such force and aggression at times that it seems as if he is insecure with his Kingship and needs to act dominant to make sure people don't objectify him. On the contrary, King Claudius also uses wise tactics of manipulation, foreshadowing gifts and rewards for his peers, like Hamlet, in the near future.  Despite Claudius appearing to have a well-intentioned demeanor, the "King" is actually an insecure, power-hungry man who only bases his intentions off of self interest.

Prufrock: One line analysis

In Alfred Prufrock's Love song, the characteristics of the incapacitated individual are exemplified through diction and strong lines. The line, "But as if a magic lantern threw the nerves in patterns on a screen...", not only utilizes vivd imagery to conveys a message, but also informs the reader about the mental state of the individual.  This line is central in the poem because it indirectly states the emotions and emotional state of the poet; an emotional state of confusion, and lack of understanding for his role on Earth.  Subsequently, the poet's thoughts are convoluted and express confusion, thus, expressing a lack of purpose.  The line is important because it paints a vivid image.  "Just try to project my thoughts from all over my brain, billions of them, over the walls around me".  The speaker is searching for a place on Earth because he feels that he doesn't have a purpose in this world.  Next, it is evident through the context of the line that Prufrock's emotions are scattered everywhere, and the line conveys that state, for, it is almost impossible to "project" and infinite amount of thoughts on a canvas around an individual, especially if one were to try and count the thoughts and interpret them all.  Furthermore, one of the most important aspects of this line is that it is a metaphor for the whole poem, expressing how this individual is trying to express himself but it is impossible because he is feeling so many emotions and humans are so complex.  Prufrock's intent for this line may arguably be that he is trying to imply the complexity of the human mind.  "But as if a magic lantern threw the nerves in patterns on a screen..." is a line that is not only central to Prufrock, but also a metaphor.

Interesting point: "To His Coy Mistress"

In To His Coy Mistress, Marvell employs the use of many literary devices including alliteration, hyperbole and underscore to express the extent of how time affects a relationship.  Hyperbole is arguably the most effect and interesting literary device that Marvel utilizes not only because it is interesting to see how Marvell juxtaposes hyperbole to underscore, but also because it expresses the emotions of the speaker.  In the first stanza, Marvell executes an insightful use of hyperbole which informs the reader that the speaker is in love with his mistress "Thou by the Indian Ganges side".  At the turn of the 18th century, it is highly unlikely that any man will travel to the Ganges river for a woman, especially with the lack of transportation at the time.  So, Marvell uses hyperbole here to indicate that the speaker loves his mistress very much, even though it is unlikely that he will travel to the Ganges for her.  Subsequently, While the speaker expresses how time is essential in his foundation of lover for his mistress, the speaker then goes on to express how time will ruin the woman, in stanza two.  Marvell juxtaposes the use of hyperbole to express how much the speaker loves his mistress in stanza one, and how in time he will love her more, to how time will eventually ruin his love for his mistress.  "Thy beauty shall no more be found" is the speakers expression of how time will make his now beautiful mistress old, and he will no longer find her beautiful.  The hyperbole in stanza one to express how time is essential in the development of love is juxtaposed to the speakers expression that time will ruin his mistress, in stanza two.

Coy Mistress: hyperbole

In To His Coy Mistress, Marvell employs the use of several literary devices to employ string emotions felt.  Moreover, one of the most prominent, and central types of literary devices used is hyperbole.  Marvell uses hyperbole to express his emotions for his mistress, for example the distances that he is willing to travel for his love.  "Thou by the Indian Ganges side" is a hyperbole because his mistress is not truly in the Ganges.  Moreover, Marvell's employs juxtaposing hyperbole to understatement in his first two paragraphs.  For example, the hyperbole in part one is juxtaposed to the understatement in part two of how time will age his "beautiful" mistress into and ugly, unattractive being.  This is juxtaposed because in part one he says that he spends so much time investing into his mistress loving her, but in part two he says time will age her.