Act 5 begins with the appearance of the 'Clowns' (aka gravediggers), who are burying a grave for Ophelia. The fact that they have been scripted as Clowns, however, could again be for comical value, and this comedy seems irrelevant to the tragic narrative that it occurring - what would a group of clown be doing in a graveyard? To make things seems even more out of place, one of the Clowns soon begins to sing, and upon arrival, Hamlet immediately questions this ("Has this fellow no feeling of his business?") The Clown then begins to throws up skulls from the ground - something that strikes as being quite irresponsible and offensive considering that they are in a graveyard. However, Hamlet does not show disgust, but is amused and imaginative about the skulls he has seen ("may not that be the skull of a lawyer?"). However, the tragedy of course remains in tact, but with a sense of irony. This is because Hamlet is not aware that it is Ophelia who has died and that the Clowns are preparing the grave for ("One that was a women, sir. But, rest her soul, she's dead"). Irony is explored even further, as the First Clown begins to talk of Hamlet being sent away, but he is not aware that it is Hamlet he is talking to. Rather than inform the Clown of this, though, Hamlet simply plays along with this, even asking the Clown questions ("Ay, marry, why was he sent to England?"). Is this him being 'mad'? Or is he enjoying hearing stories about himself and his madness? What I find tragic here is that I wouldn't have thought of these stories being forever associated with a royal figure like Hamlet to be found amusing the figure them-self, but obviously Hamlet does think so.
In fact, the entire setting and dialogue at this point in the scene are quite contrasting - to the imagination, the graveyard would seem quiet, misty and depressing, but Hamlet is sharing banter with the Clowns and reminiscing on the Skulls that he has recognized ("A fellow of infinite jest, of most excellent fancy."), which all seems quite up-beat. This is all soon shattered, however, with the arrival of the Queen, King, Laertes, a Priest and the corpse of Ophelia. This is shocking new news to Hamlet, and to make things even more irresponsible, Laetres jumps into Ophelia's grave, in an aid to protect her from Hamlet ("Hold off the earth awhile, Till I have caught her once more in mine arms"). Hamlet then reveals that he "loved" Ophelia, but we cannot help but question weather this is actually true or not, based on his past, wicked behaviors towards her. Laertes and Hamlet are arranged to duel, and after Hamlet and Horatio exit, the King says that the grave will have a "living monument" which I think means because Hamlet has become somewhat of an icon for his madness, the grave he is placed in will be particularly special. Hamlet has returned to kill Caludius, but once again, he has been thrown off-course by learning of Ophelia's death and the challenge set by Laertes - the distractions are by now recurring tragedies towards Hamlet as he always seems to find a reason to delay what the ghost of his Farther told him to do, which now seems so long ago.
At the start of scene 2, we learn that Hamlet has been able to put himself in Laertes's footsteps and understands his revengeful nature("in my heart there was a kind of fighting that would not let me sleep"). He also reveals to Horatio that Ronsencrantz and Guildensterne are certainly heading towards their deaths on the ship to England - He is sharing important information before something tragic is about to happen, possibly in attempt to free himself from sins so that he will not rot in hell if he dies. This tragic seemingly tragic nature is interrupted by the appearance of Osrick, a character who is seemingly quite camp and humorous. His characteristics do seem quite irrelevant for the situation, but this comical element may have been placed in by Shakespeare to take the focus away from the tragedy for a few moments, giving the audience a final chance for laughter before tragedy strikes again("I thank your lordship, it is very hot").
During the showdown between Hamlet and Laertes, a large amount of tragedy breaks lose in what seems to be a quick amount of time. This is caused by the surrounding poison, which was intended to be used on Hamlet if the sword of Laetres should fail. However, the Queen drinks the poisoned wine, and this is soon followed by both Hamlet and Laertes being injured by the poisoned sword. Although this is a lot of tragedy to digest in what seems to be a matter of seconds, Shakespeare once again manages to include some comic moments through Osrick's commentary ("Look to the Queen there. Ho!"). It is in these moments, however, it is that Hamlet finally sets out to do what he has meant to since the start of the play - kill the King, by forcing him to drink the wine that killed his mother. Laertes also reaches death, but just before this, he able to apologize to Hamlet for being mislead by the King ("Exchange forgiveness with me") Although this forgiveness is questionable as Hamlet murdered his dad, and seemingly without sympathy, it appears that Laertes understands that Hamlet didn't mean to kill him. In is final moments, Hamlet tells Horatio to offer the kingdom to Fortinbras, who has suddenly arrived during his army's march ("He has my dying voice.").
in the end, tragedy was unavoidable for Hamlet. He finally avenged his Farther and killed Cladius, but this came at a price - his own death. Weather he was actually mad or not, I think, is summarized by Fortinbras, who says that he had been "put on, to prove most royal". I think that means Fortinbras understood that Hamlet had to go through with some damaging and dangerous plans to get what he achieved today, and therefore he should be remembered by it ("the rites of war speak loudly for him"). Denmark now has a chance to start over, under the reign of Fortinbras, but this still bares the question - how will future generation remember Hamlet? As a hero, never to be forgotten? Or simply, as being mad, with dangerous and damaging acts?
Monday 18 October 2010
In Fortinbras's final speech, He asks that be raised like 'a soldier to the stage' and that he had been 'put on, to have proved most royal'. What I think he is saying here is that Hamlet's memory should be honoured for what he has done - put an end to Claudius's reign over the Kingdom. by 'put on' I think he is answering the question that we have pondered from the early stages of the play - is Hamlet mad? or not mad? Fortinbras suggests that he was not actually mad, but his dangerous act has proved worthy of attention in the end ('most royal') and for that, the soldiers' 'music' and 'rites of war' shall be used when thinking of Hamlet.
Fortinbras then asks the solders to 'take up the bodies' as the sight of the bodes in front of him 'shows much amiss'. What I think he means here is that Hamlet should be placed somewhere different from the bodies of everyone else, to show that he has done something memorable. I agree with Fortinbras that Hamlet has had to go through a lot of dangerous and damaging activity to achieve what he has achieved, so therefore he does deserve some form of recognition.
Fortinbras then asks the solders to 'take up the bodies' as the sight of the bodes in front of him 'shows much amiss'. What I think he means here is that Hamlet should be placed somewhere different from the bodies of everyone else, to show that he has done something memorable. I agree with Fortinbras that Hamlet has had to go through a lot of dangerous and damaging activity to achieve what he has achieved, so therefore he does deserve some form of recognition.
Tuesday 12 October 2010
Thoughts on 'V.' by Tony Harrison
The first thing I noticed when listening to this poem is that the reader selects very precises dates ('May 1984'), which I think is a good technique as it gives the events and feelings expressed in the poem a sense of reality, as if they really happened and had an impact on the reader. Archive footage of war is also used, which creates quite a saddening effect as, with the poem being read at the same time, a grim, upsetting picture been painted by putting the theme of conflict into context. He refers to Leeds F.C. a number of times, possibly to give a reader (especially if they are from this region) something to relate to, effectively matching his words with more context (cultural this time).
It is interesting that he mentions the word 'united' as I find this word splits into two recurring themes in the poem. The first of these themes is conflict, which I mentioned above. He constantly mentions the skinhead gangs wrecking havoc amongst the city, they graffiti vulgar language on the gravestones of the dead, amongst other areas in the city. I find the use of strong language to be engaging, as it shows just how much of a vulgar reality has been created by the skinhead population. The word 'united' also lends itself to the context of actually being united. I think is evident when the clips of the gravestones are used, displaying the author's family all in the same grave. It is as if they are 'united'.
When the skinhead population are on their vandalizing spree, he mentions that their violence and graffiti is 'all over Leeds' as if it is dominating. They are displaying their 'art' all over town for people to see, but I find interesting is that he mentions that they don't sign it. Is this so that they can hide? Is there something that they don't want people to know about? the author even goes as far to ask the question "Why don't you sign?". However, the author then reveals that the skinhead didn't sign it because it was him. He simply asking himself this question, which is very interesting as a new theme has been introduced - the idea of 'self vs. self'. He reveals that he too was skinhead who used strong language effectively, but because of his educational background, he knows that he is in control of his anger, unlike the other, uneducated skinheads, where violent behavior will always be part of their daily routine.
I found this pen to be a very emotional and powerful one. This because after hearing it, I cannot help but question, are there ever lasting rivalries that last throughout life? is there always competition? The author makes it clear that there is arrogance inside all of us, but it is an education that gives us the definitive control as to how we display our emotions.
It is interesting that he mentions the word 'united' as I find this word splits into two recurring themes in the poem. The first of these themes is conflict, which I mentioned above. He constantly mentions the skinhead gangs wrecking havoc amongst the city, they graffiti vulgar language on the gravestones of the dead, amongst other areas in the city. I find the use of strong language to be engaging, as it shows just how much of a vulgar reality has been created by the skinhead population. The word 'united' also lends itself to the context of actually being united. I think is evident when the clips of the gravestones are used, displaying the author's family all in the same grave. It is as if they are 'united'.
When the skinhead population are on their vandalizing spree, he mentions that their violence and graffiti is 'all over Leeds' as if it is dominating. They are displaying their 'art' all over town for people to see, but I find interesting is that he mentions that they don't sign it. Is this so that they can hide? Is there something that they don't want people to know about? the author even goes as far to ask the question "Why don't you sign?". However, the author then reveals that the skinhead didn't sign it because it was him. He simply asking himself this question, which is very interesting as a new theme has been introduced - the idea of 'self vs. self'. He reveals that he too was skinhead who used strong language effectively, but because of his educational background, he knows that he is in control of his anger, unlike the other, uneducated skinheads, where violent behavior will always be part of their daily routine.
I found this pen to be a very emotional and powerful one. This because after hearing it, I cannot help but question, are there ever lasting rivalries that last throughout life? is there always competition? The author makes it clear that there is arrogance inside all of us, but it is an education that gives us the definitive control as to how we display our emotions.
Monday 11 October 2010
Reflections on 'Hamlet' Act 4
At the start of this act, the Queens report to the King that Hamlet has killed Polonius, and that he will "draw apart" the body, which is very, very grim. She does however, try and defend her son against the King's actions. saying that it was Hamlet's "madness" that caused him to kill Polonius, and that it was not out of spit or vengeance. This implies that something really is wrong with Hamlet, but weather there really is or not is still a mystery - the Queen could simply be saying this as she wants to protect her son from the King's ways. However, this causes the Queen to have a nasty dilemma - Does try and defend her son because she loves him, or does she have to be loyal to the King and let him do what he wishes to her son?
In scene 2, Rosencrantz and Guildenstern have come to take Hamlet to the King, but this simple task is no way of avoiding Hamlet's puzzling nature. He knows that they have been ordered by the King to do so, so he says that Rozencrantz is nothing more than a "sponge" that does exactly what the King tells him to do and "soaks up the King's countenance, his rewards, his authorities". He is saying that the King will only use them when needed, and when he is done with them, he will be "squeezing" them and eventually, they will be "dry again" meaning useless. Weather Hamlet is actually mad or not, he is certainly puzzling.
Hamlet then proceeds to paint a grim, horrifying picture to the King in scene 3: He tells him that the body of Polonius is "at supper" for a "convocation of politic worms". The King soon decides that he has had enough of Hamlet's behavior and that he must be sent away "with fiery quickness". With Hamlet now gone, for what at the moment seems for good, The devises a plan to have Hamlet killed as soon as he arrives in England ("cicatrice looks raw and red after the Danish sword...The present death of Hamlet"). With this in mind, the King feels that now he can relax and essential get back to reality, away from all of Hamlet's episodes ("Everything is sealed and done"). Or so he thinks...
At the very start of scene 4, we learn that the King is very soon going to have to deal with another problem - Fortinbras, who, along with many others that he has assembled, will "march over his Kingdom". This is revenge for a much minor incident that took place towards the start of the play. Nevertheless, this will still create a problem for the King, and upon learning this, Hamlet once again realizes how weak he has been in contrast to him. Hamlet complains that he has had the mental ability all along to slay the King, but he has never had any of the will power ("one part wisdom and ever three parts coward"). He compares himself to what action Fortinbras has taken, describing his army as being "mass and charge" and that Fortinbras himself is a "delicate and tender prince". For an audience, this picture would show clearly how weak and still Hamlet has been, as it being compared to someone actually dealing with one of their problems.
In scene 5, tragedy is instantly recognized when Ophelia arrives. It appears that since the death of her farther, she has began acting in a mental manner, much like Hamlet, with the Queen even describing that when she speaks, she only does it in "half sense" and that "her speech is nothing." When she arrives, she breaks into song, for reasons that the King and Queen cannot work out. Tragically, the King orders that she must be spied on ("Follow her close"), and this is tragic because he has resorted to this method once again, creating the impression that no one can be trusted under his watch. This is followed by the sudden return of Laertes, who is looking for answers concerning his father's death - this of course, creates another problem for the King to deal with. Even more worryingly for him, Upon return, Laertes has been embraced by the people ("'Choose we! Laertes will be King!'") meaning that they are sick of Claudius and want him out. Laertes asks where his farther is, to which the King responds with no sympathy whatsoever "Dead". However the Queen adds quickly "but not by him". Is she doing this to defend the King? Is Laertes another person seeking revenge? This is certainly becoming a dominant theme, which instantly poses a sense of tragedy as clearly, everyone is either seeking vengeance or has to be spied upon, which creates the impression that no one can be trusted as well.
In act 6, Horatio receives a letter from Hamlet, alerting him that after "two days old at sea" their ship was seized by pirates and Hamlet became their prisoner. However, Hamlet has manged to strike some sort of agreement with them ("I am to do a good turn for them") and is now heading back to Denmark. While Hamlet relies on brains rather than muscle most of the time he is on-stage, when he is off-stage, however, it seems like he has had to take quite a physical strain in order to escape from the pirates. However, as we are still in debate as to weather Hamlet is mad or not, this could simply be him exaggerating. As for Ronsencrantz and Guildensterne, Hamlet reveals that they are still on the boat on "their course for England". Again this applies that Hamlet has been very sneaky to escape without them noticing, but what does this mean for these two? are they to arrive in England and meet the same fate that the King set out for Hamlet? (to be killed upon arrival) Tragedy looks certain for these two characters.
At the start of act 7, we learn that Claudius has convinced Laertes to take action against Hamlet for killing Polonius and driving Ophelia to insanity ("My revenge will come"). This is instantly followed by two separate letters arriving - one for the King and one for the Queen. In the King's letter, which is from Hamlet, he says to the King that he will make a "sudden and more strange return. the King, clearly bothered and baffled by this, gives final orders for Laertes to kill Hamlet, enhancing Laertes's pride. To further to chances of successfully killing him, Laertes says that he will "anoint" his sword with poison. This seems to be a recurring prop in the play - it was first used to kill King Hamlet, and now it appears that Hamlet's life is going to end in the same manner. The King, fully aware of this, which is quite ironic really, suggests that to increase their chances, he will place poison in the wine, which will be used when Laertes and Hamlet dual. They are surrounding him with it, which is supposedly tragic is it creates the picture that Hamlet will not be able to escape from it.
Suddenly, however, more tragedy is created for Laertes to deal with, as the Queen has entered, announcing that Ophelia has "drowned", committing suicide. As well as being tragic for Laertes, This is also tragic for Ophelia - She had constantly been pushed back by both her farther and her brother, telling her to stay away from Hamlet, plus she has been a central subject to Hamlet's acts of madness, and finally, she has had to deal with the loss of her farther. She wanted an escape from her tragic reality. This poses a question, however, of who was it that gave her the final push to end her life - was it Hamlet, with his mad, disturbing and manipulative nature towards her? or was the death of her farther (caused by Hamlet) simply too much to take? Either way, her death sparks tragedy for her and for those who care about her most.
In scene 2, Rosencrantz and Guildenstern have come to take Hamlet to the King, but this simple task is no way of avoiding Hamlet's puzzling nature. He knows that they have been ordered by the King to do so, so he says that Rozencrantz is nothing more than a "sponge" that does exactly what the King tells him to do and "soaks up the King's countenance, his rewards, his authorities". He is saying that the King will only use them when needed, and when he is done with them, he will be "squeezing" them and eventually, they will be "dry again" meaning useless. Weather Hamlet is actually mad or not, he is certainly puzzling.
Hamlet then proceeds to paint a grim, horrifying picture to the King in scene 3: He tells him that the body of Polonius is "at supper" for a "convocation of politic worms". The King soon decides that he has had enough of Hamlet's behavior and that he must be sent away "with fiery quickness". With Hamlet now gone, for what at the moment seems for good, The devises a plan to have Hamlet killed as soon as he arrives in England ("cicatrice looks raw and red after the Danish sword...The present death of Hamlet"). With this in mind, the King feels that now he can relax and essential get back to reality, away from all of Hamlet's episodes ("Everything is sealed and done"). Or so he thinks...
At the very start of scene 4, we learn that the King is very soon going to have to deal with another problem - Fortinbras, who, along with many others that he has assembled, will "march over his Kingdom". This is revenge for a much minor incident that took place towards the start of the play. Nevertheless, this will still create a problem for the King, and upon learning this, Hamlet once again realizes how weak he has been in contrast to him. Hamlet complains that he has had the mental ability all along to slay the King, but he has never had any of the will power ("one part wisdom and ever three parts coward"). He compares himself to what action Fortinbras has taken, describing his army as being "mass and charge" and that Fortinbras himself is a "delicate and tender prince". For an audience, this picture would show clearly how weak and still Hamlet has been, as it being compared to someone actually dealing with one of their problems.
In scene 5, tragedy is instantly recognized when Ophelia arrives. It appears that since the death of her farther, she has began acting in a mental manner, much like Hamlet, with the Queen even describing that when she speaks, she only does it in "half sense" and that "her speech is nothing." When she arrives, she breaks into song, for reasons that the King and Queen cannot work out. Tragically, the King orders that she must be spied on ("Follow her close"), and this is tragic because he has resorted to this method once again, creating the impression that no one can be trusted under his watch. This is followed by the sudden return of Laertes, who is looking for answers concerning his father's death - this of course, creates another problem for the King to deal with. Even more worryingly for him, Upon return, Laertes has been embraced by the people ("'Choose we! Laertes will be King!'") meaning that they are sick of Claudius and want him out. Laertes asks where his farther is, to which the King responds with no sympathy whatsoever "Dead". However the Queen adds quickly "but not by him". Is she doing this to defend the King? Is Laertes another person seeking revenge? This is certainly becoming a dominant theme, which instantly poses a sense of tragedy as clearly, everyone is either seeking vengeance or has to be spied upon, which creates the impression that no one can be trusted as well.
In act 6, Horatio receives a letter from Hamlet, alerting him that after "two days old at sea" their ship was seized by pirates and Hamlet became their prisoner. However, Hamlet has manged to strike some sort of agreement with them ("I am to do a good turn for them") and is now heading back to Denmark. While Hamlet relies on brains rather than muscle most of the time he is on-stage, when he is off-stage, however, it seems like he has had to take quite a physical strain in order to escape from the pirates. However, as we are still in debate as to weather Hamlet is mad or not, this could simply be him exaggerating. As for Ronsencrantz and Guildensterne, Hamlet reveals that they are still on the boat on "their course for England". Again this applies that Hamlet has been very sneaky to escape without them noticing, but what does this mean for these two? are they to arrive in England and meet the same fate that the King set out for Hamlet? (to be killed upon arrival) Tragedy looks certain for these two characters.
At the start of act 7, we learn that Claudius has convinced Laertes to take action against Hamlet for killing Polonius and driving Ophelia to insanity ("My revenge will come"). This is instantly followed by two separate letters arriving - one for the King and one for the Queen. In the King's letter, which is from Hamlet, he says to the King that he will make a "sudden and more strange return. the King, clearly bothered and baffled by this, gives final orders for Laertes to kill Hamlet, enhancing Laertes's pride. To further to chances of successfully killing him, Laertes says that he will "anoint" his sword with poison. This seems to be a recurring prop in the play - it was first used to kill King Hamlet, and now it appears that Hamlet's life is going to end in the same manner. The King, fully aware of this, which is quite ironic really, suggests that to increase their chances, he will place poison in the wine, which will be used when Laertes and Hamlet dual. They are surrounding him with it, which is supposedly tragic is it creates the picture that Hamlet will not be able to escape from it.
Suddenly, however, more tragedy is created for Laertes to deal with, as the Queen has entered, announcing that Ophelia has "drowned", committing suicide. As well as being tragic for Laertes, This is also tragic for Ophelia - She had constantly been pushed back by both her farther and her brother, telling her to stay away from Hamlet, plus she has been a central subject to Hamlet's acts of madness, and finally, she has had to deal with the loss of her farther. She wanted an escape from her tragic reality. This poses a question, however, of who was it that gave her the final push to end her life - was it Hamlet, with his mad, disturbing and manipulative nature towards her? or was the death of her farther (caused by Hamlet) simply too much to take? Either way, her death sparks tragedy for her and for those who care about her most.
Thursday 7 October 2010
Reflections on 'Hamlet' Act 3
Scene 1 of act 3 begins with the King, Queen, Polonius and others discussing Hamlet's madness, with the King wondering why he transformed from his "days of quiet" to "turbulent and dangerous lunacy". The King and Polonius decide that they will spy on Hamlet, essential using Ophelia as bait, as they believe that the reason why Hamlet may be acting like a lunatic is becasue he is in love with Ophelia - "we may of their encounter frankly judge, and gather by him, as he is behaved, If't be th'affliction of his love or no that thus he suffers for". This is a very tragic element as, like in act 2, if Hamlet generally is mad, then Ophelia is being exposed to strong dangers, but if he is putting this act on, then he may get himself into trouble that isn't worth being in. This is follwed by Hamlet's next soliloquy, where he ponders if it "nobler in the mind to suffer the the slings and arrows...Or to take arms against a sea of troubles..". If the lunacy is in fact in act, which this statement I find suggests, then I think he is pondering weather it is worth putting on this act, as it seems he is dealing with so much pressure by doing so. This is tragic because he is now between a rock and hard place. He later goes on to say "conscience does make cowards of us all" - what I interpret by this is that he is now wondering if he has made the right decision by waiting so long to find a piece of evidence to use against the King in order to bring him down. He is question weather it would have been better to make a snap movement and kill him instantly a long time ago, as the ghost of his Farther told him to do.
Hamlet is then confronted with Ophelia, where he claims to deny his love for her that was suggested earlier in the play, telling her to "get thee to a nunnery" aka a whore-house. The reason why he may have told her this is so that she can become disassociated from him and his lunacy, so it could have been in his intentions to protect her. Also, we get the impression that Hamlet is aware that the King is spying on him, where he says "I have heard of your painting too" which could suggest that he knows they are simply hiding behind a wall. The most important thing to draw attention however, is that Hamlet has convinced the King that he does not love Ophelia, so that this not the reason for his madness and possibly places Ophelia out of danger from him - we cannot heelp but wonder if this was deliberate or not. Polonius then suggests to the King that they should observe Hamlet's behavior during the play which is exactly what Hamlet will be doing to the King at the same time. The tragic thing here is the element of distrust - because they are all observing each other, we know that trust is rapidly fading away. After that, Polonius says that he will spy on a conversation between Hamlet and his mother, thinking that he will be more honest with her as he loves her. If he finds him to mad after all, he says that he must be sent away - "To England send him". Once again, tragedy could possibly be created by putting his mother into a similar situation as Ophelia, exposing her to a possibly lunatic, or Hamelt will create more trouble for himself by acting falsely and frightening those around him.
In scene 2, Hamlet is addressing the actors about the scene he has told them to insert - a scene that will replicate the killing of his farther by his uncle ("Speak the speech, I pray you, as I pronounced it to you") . Hamlet then asks Horatio to spy on the King's reactions with him, possibly so that if Hamlet tonight does gain evidence of the King murdering his farther, he will have another witness to back him, making him seem less of a lunatic - "we will both our judgments join in censure of his seeming". At the end of this scene, Hamlet learns that his mother wishes to speak with him. He says that he will "speak daggers to her, but use none" meaning that he will argue with her, but not in a violent matter, which gives is the impression that he will not be as mental as he was in front of Ophelia.
In scene 3, Polonius hides himself when observing the conversation between Hamlet and the Queen ("Behind the arras I'll convey myself"). However, as soon as Polonius leaves, the King delivers a soliloquy, where he admits that he committed "A brother's murder." Hamlet enters and hears what he has to say. However, at this precise moment, where Hamlet has the evidence and opportunity to finally avenge his farther, he does not do so. The strongest point as to why he doesn't do it here is because Claudius was praying to God, and Hamlet does not want to man who killed his farther in heaven, surrounded by peace saying that it would be "hire and salary" rather than revenge. The tragic element here relates back to one of first arguments of throughout the play - is Hamlet simply just a wuss? He is in a position of power, able to kill the man his farther told him to kill, and yet he still does not do so, finding yet another excuse and letting the King escape.
In scene 4, Polonius is spying the conversation between Hamlet and his mother (He hides behinds the arras). As soon as Hamlet arrives, we know that is going to be presenting an angry manner, but at first, I cannot help but notice his quick wit - his mother says "you answer with an idle tongue" to which he responds "you question with a wicked tongue". Although really this is the beginning of a truly tragic and disgusting rant, I notice how comically this could be displayed on stage. The Queen becomes quickly overwhelmed by what Hamlet says and screams for help, which prompts Polinus to spring into action ("What, ho! Help!"). Almost without hesitation, Hamlet strikes him dead without even check too see who it is. This could be for two possible reason: one is that he has become so frustrated that so many people are spying on him that he overreacts and just decides to kill the next person who might be doing this, without care for who it is. The other reason is that he thinks it is Claudius, and now that Claudius not praying, Hamlet can finally send him to hell. unlike the previous scene. The key tragic aspect, however, is that Hamlet has killed the wrong person and has now become a murderer. Even more tragically, he does not seem to care that much.
To continue the grim reality that Hamlet has placed himself in, he next becomes very angry with his mother, sharing his opinion about her marrying Claudia with her. He uses grim, disgusting descriptions, such as "rank sweat" and "stewed in corruption" as if he is trying to make his mother realize how vile she has been. The interesting thing here, though, is that the ghost of his farther, who told Hamlet to kill Claudius in the first place, used very similar descriptions at the start of the play. Even more interestingly, the ghost now appears, saying that he has appeared because of the "almost blunted purpose" as if he knew that Hamlet killed the wrong person, and needs to remind him of the original task that he set out for him. However, the tragic question weather Hamlet is mad or not once again occurs here - He is very aware that ghost of his farther has appeared, yet when he asking his mother if she knows that he is here, she says that she hears "nothing but ourselves". Eventually, Hamlet admits that he is "not in madness, but madness in craft" meaning that he is assuring his Mother that is does not have any sort of mental illness, but his actions make it seem like he does. He acknowledges that, because of what has just happened, he must now be sent away to England. At first this seems tragic as it is if Hamlet is giving up and letting the (essentially) authorities take him away - it is like the demise of a hero. Suddenly, however, Hamlet reveals that this is not quite the end just yet - "But I will delve one yard below their mines and blow them at the moon" suggest that he has a plan to escape. Hamlet is much furthering the mystery that surrounds his character, but I can't help but ponder yet again weather this will be worth anything - he still hasn't killed Claudius, which is something that the ghost had told him to do quite a while ago (the Ghost even had to re-appear recently to remind him to get on with it!) and now it seems that all hope has failed as he being sent away. Or has it...
Hamlet is then confronted with Ophelia, where he claims to deny his love for her that was suggested earlier in the play, telling her to "get thee to a nunnery" aka a whore-house. The reason why he may have told her this is so that she can become disassociated from him and his lunacy, so it could have been in his intentions to protect her. Also, we get the impression that Hamlet is aware that the King is spying on him, where he says "I have heard of your painting too" which could suggest that he knows they are simply hiding behind a wall. The most important thing to draw attention however, is that Hamlet has convinced the King that he does not love Ophelia, so that this not the reason for his madness and possibly places Ophelia out of danger from him - we cannot heelp but wonder if this was deliberate or not. Polonius then suggests to the King that they should observe Hamlet's behavior during the play which is exactly what Hamlet will be doing to the King at the same time. The tragic thing here is the element of distrust - because they are all observing each other, we know that trust is rapidly fading away. After that, Polonius says that he will spy on a conversation between Hamlet and his mother, thinking that he will be more honest with her as he loves her. If he finds him to mad after all, he says that he must be sent away - "To England send him". Once again, tragedy could possibly be created by putting his mother into a similar situation as Ophelia, exposing her to a possibly lunatic, or Hamelt will create more trouble for himself by acting falsely and frightening those around him.
In scene 2, Hamlet is addressing the actors about the scene he has told them to insert - a scene that will replicate the killing of his farther by his uncle ("Speak the speech, I pray you, as I pronounced it to you") . Hamlet then asks Horatio to spy on the King's reactions with him, possibly so that if Hamlet tonight does gain evidence of the King murdering his farther, he will have another witness to back him, making him seem less of a lunatic - "we will both our judgments join in censure of his seeming". At the end of this scene, Hamlet learns that his mother wishes to speak with him. He says that he will "speak daggers to her, but use none" meaning that he will argue with her, but not in a violent matter, which gives is the impression that he will not be as mental as he was in front of Ophelia.
In scene 3, Polonius hides himself when observing the conversation between Hamlet and the Queen ("Behind the arras I'll convey myself"). However, as soon as Polonius leaves, the King delivers a soliloquy, where he admits that he committed "A brother's murder." Hamlet enters and hears what he has to say. However, at this precise moment, where Hamlet has the evidence and opportunity to finally avenge his farther, he does not do so. The strongest point as to why he doesn't do it here is because Claudius was praying to God, and Hamlet does not want to man who killed his farther in heaven, surrounded by peace saying that it would be "hire and salary" rather than revenge. The tragic element here relates back to one of first arguments of throughout the play - is Hamlet simply just a wuss? He is in a position of power, able to kill the man his farther told him to kill, and yet he still does not do so, finding yet another excuse and letting the King escape.
In scene 4, Polonius is spying the conversation between Hamlet and his mother (He hides behinds the arras). As soon as Hamlet arrives, we know that is going to be presenting an angry manner, but at first, I cannot help but notice his quick wit - his mother says "you answer with an idle tongue" to which he responds "you question with a wicked tongue". Although really this is the beginning of a truly tragic and disgusting rant, I notice how comically this could be displayed on stage. The Queen becomes quickly overwhelmed by what Hamlet says and screams for help, which prompts Polinus to spring into action ("What, ho! Help!"). Almost without hesitation, Hamlet strikes him dead without even check too see who it is. This could be for two possible reason: one is that he has become so frustrated that so many people are spying on him that he overreacts and just decides to kill the next person who might be doing this, without care for who it is. The other reason is that he thinks it is Claudius, and now that Claudius not praying, Hamlet can finally send him to hell. unlike the previous scene. The key tragic aspect, however, is that Hamlet has killed the wrong person and has now become a murderer. Even more tragically, he does not seem to care that much.
To continue the grim reality that Hamlet has placed himself in, he next becomes very angry with his mother, sharing his opinion about her marrying Claudia with her. He uses grim, disgusting descriptions, such as "rank sweat" and "stewed in corruption" as if he is trying to make his mother realize how vile she has been. The interesting thing here, though, is that the ghost of his farther, who told Hamlet to kill Claudius in the first place, used very similar descriptions at the start of the play. Even more interestingly, the ghost now appears, saying that he has appeared because of the "almost blunted purpose" as if he knew that Hamlet killed the wrong person, and needs to remind him of the original task that he set out for him. However, the tragic question weather Hamlet is mad or not once again occurs here - He is very aware that ghost of his farther has appeared, yet when he asking his mother if she knows that he is here, she says that she hears "nothing but ourselves". Eventually, Hamlet admits that he is "not in madness, but madness in craft" meaning that he is assuring his Mother that is does not have any sort of mental illness, but his actions make it seem like he does. He acknowledges that, because of what has just happened, he must now be sent away to England. At first this seems tragic as it is if Hamlet is giving up and letting the (essentially) authorities take him away - it is like the demise of a hero. Suddenly, however, Hamlet reveals that this is not quite the end just yet - "But I will delve one yard below their mines and blow them at the moon" suggest that he has a plan to escape. Hamlet is much furthering the mystery that surrounds his character, but I can't help but ponder yet again weather this will be worth anything - he still hasn't killed Claudius, which is something that the ghost had told him to do quite a while ago (the Ghost even had to re-appear recently to remind him to get on with it!) and now it seems that all hope has failed as he being sent away. Or has it...
Tuesday 5 October 2010
Reflections on 'Hamlet' Act 2
In the first scene of act 2, we learn that Polonius has ordered Reynaldo to spy on his son, Laertes, who is currently in Paris - "Inquire me first what Danskers are in Paris, And how, and who, what means, and where they keep...". This shows us that, much like his attitude towards his daughter, Ophelia, in act 1, he is also over-protective of his son. In this distrust, we can begin to see tragic elements unfolding - when someone is watching you and you are unaware, there is quite a disturbing factor about this. However, by adding this feature to the plot, Shakespeare has also created a sub-plot set aside from the main action of Hamlet's story, possibly to give the audience a look at some fresh material and to add new, unexpected twists.
Also, at this part of the story, we hear of Hamlet's insanity beginning to develop. This is evident when Ophelia enters to tell her farther that Hamlet has visited her appearing more or less naked and "with a look so piteous in purport as if he had been loosed out of hell". Polonius's instant reaction is to report this to the King, thinking that he will be able to get Hamlet under heavy observation after telling the King of this. After reading this, however, I cannot help but question if Hamlet has behaved this way deliberately, in an attempt to create a diversion - Is he really mad? or is it part of his plan? - to create an insane character to mislead the key figures around him. If he is generally insane, this is disturbing on it's own account, but if it is all just an act, it is very tragic because Hamlet has to manipulate and disturb those around him (Ophelia) just to create a diversion, which is exposing him to all kind of risks and observations from the King and others.
In scene 2, enough time has passed, possibly weeks or months, for the King and Polonius to from a summary to what they think caused Hamlet's madness. It is described by Voltemand as "against your highness; whereat grieved, that so his sickness, age, and impotence was falsely borne in hand...". What I think this means is that Hamlet has developed this lunatic personality simply because he is not happy with Claudius being King. Polonius also reports that Hamlet has written a letter to Ophelia and shows this to the King. In this letter, Hamlet states that he does love her, but he is "ill at these numbers". Polonius suggests that he and the King should spy on Hamlet, creating a trap, essentially using Ophelia as bait. This is where the tragedy is is further expressed because if Hamlet truly is mad, then Polonius could be setting his daughter up for another traumatizing encounter like she mentioned in act 1, but if Hamlet is not mental and just pretends to be, then he could be captured and punished for all the wrong reasons - there appears to be no positive outcome.
Later on in the scene, Hamlet arrives. He soon however becomes fascinated by the arrival of a group of actors, and speaks bizarre statements such as "I am but mad north-north west" and "buzz, buzz" in front of Polonius. Again, we wonder why he is saying this - is it to mislead Polonius? or is he generally a lunatic? However, Hamlet then reveals that he is planning to inset a scene in to the play that they actors are preparing that will simulate the murder described to him by the Ghost of his farther, which will be show in front of Cladius. Hamlet states that he will "observe his looks" to see if he becomes distressed by the action in front of him. If he does, Hamlet will then think he finally has evidence to protest against the King - something he was reluctant to do previously when the Ghost first mentioned it, in an attempt to remove him from the thrown an have the truth revealed. While this makes Hamlet appear clever, it seems as if he has had to go through a high amount o trouble to reach this stage, by possibly pretending that he is mad. But because he is so close to possibly having the truth revealed, I cannot help but fear that this effort will all be for nothing if his bizarre behavior is exposing him to more danger.
Also, at this part of the story, we hear of Hamlet's insanity beginning to develop. This is evident when Ophelia enters to tell her farther that Hamlet has visited her appearing more or less naked and "with a look so piteous in purport as if he had been loosed out of hell". Polonius's instant reaction is to report this to the King, thinking that he will be able to get Hamlet under heavy observation after telling the King of this. After reading this, however, I cannot help but question if Hamlet has behaved this way deliberately, in an attempt to create a diversion - Is he really mad? or is it part of his plan? - to create an insane character to mislead the key figures around him. If he is generally insane, this is disturbing on it's own account, but if it is all just an act, it is very tragic because Hamlet has to manipulate and disturb those around him (Ophelia) just to create a diversion, which is exposing him to all kind of risks and observations from the King and others.
In scene 2, enough time has passed, possibly weeks or months, for the King and Polonius to from a summary to what they think caused Hamlet's madness. It is described by Voltemand as "against your highness; whereat grieved, that so his sickness, age, and impotence was falsely borne in hand...". What I think this means is that Hamlet has developed this lunatic personality simply because he is not happy with Claudius being King. Polonius also reports that Hamlet has written a letter to Ophelia and shows this to the King. In this letter, Hamlet states that he does love her, but he is "ill at these numbers". Polonius suggests that he and the King should spy on Hamlet, creating a trap, essentially using Ophelia as bait. This is where the tragedy is is further expressed because if Hamlet truly is mad, then Polonius could be setting his daughter up for another traumatizing encounter like she mentioned in act 1, but if Hamlet is not mental and just pretends to be, then he could be captured and punished for all the wrong reasons - there appears to be no positive outcome.
Later on in the scene, Hamlet arrives. He soon however becomes fascinated by the arrival of a group of actors, and speaks bizarre statements such as "I am but mad north-north west" and "buzz, buzz" in front of Polonius. Again, we wonder why he is saying this - is it to mislead Polonius? or is he generally a lunatic? However, Hamlet then reveals that he is planning to inset a scene in to the play that they actors are preparing that will simulate the murder described to him by the Ghost of his farther, which will be show in front of Cladius. Hamlet states that he will "observe his looks" to see if he becomes distressed by the action in front of him. If he does, Hamlet will then think he finally has evidence to protest against the King - something he was reluctant to do previously when the Ghost first mentioned it, in an attempt to remove him from the thrown an have the truth revealed. While this makes Hamlet appear clever, it seems as if he has had to go through a high amount o trouble to reach this stage, by possibly pretending that he is mad. But because he is so close to possibly having the truth revealed, I cannot help but fear that this effort will all be for nothing if his bizarre behavior is exposing him to more danger.
Monday 4 October 2010
When Polonius arrives in scene 2, act 1, Hamlet begins behaving with the mentality that he displayed earlier in the play, as being a bit loopy. He has become fascinated with the sudden appearance of the actors, So I cannot help but wonder if it this that has made him behave bizarrely, or weather he is doing it because Polonius is here.
However, Hamlet also mentions that he will contribute to a scene in the play, where he will inset a scene of murder, similar to how Cluadious murdered his farther, and will see how he re-acts ('I'll observe his looks'). This way, if Claudius displays signs of distress, Hamlet will think that he will finally have evidence of what Claudius did to his farther and be bale to protest against him - something he was reluctant to do earlier because he had no evidence. Because of this, I think Hamlet is starting to appear as quite a clever character, and his loopy behaviour is starting to disguise this well, as Polonius thinks that he may be generally loopy and has reported this to Claudius.
However, Hamlet also mentions that he will contribute to a scene in the play, where he will inset a scene of murder, similar to how Cluadious murdered his farther, and will see how he re-acts ('I'll observe his looks'). This way, if Claudius displays signs of distress, Hamlet will think that he will finally have evidence of what Claudius did to his farther and be bale to protest against him - something he was reluctant to do earlier because he had no evidence. Because of this, I think Hamlet is starting to appear as quite a clever character, and his loopy behaviour is starting to disguise this well, as Polonius thinks that he may be generally loopy and has reported this to Claudius.
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