Death Flashcards
Warlike {Horatio}
‘Fair and warlike form….majesty of buried Denmark’ 1.1.46
While the context of the remark refers to the dead King of Denmark, the synecdoche identifies the fate of its state with that of it’s King - this suggests that the death of Old Hamlet simultaneously led to the death of the state, indicating that it was a foul betrayal. If the state reflect’s the fate of the King, then ‘buried’ Denmark may also foreshadow Claudius’ death, alluding to it being inevitable.
Corpse {King}
‘From the first corpse till he that died today’ 1.2.105
The biblical imagery depicted here, with Abel as the ‘first copse’ killed by his brother may be a Freudian slip to modern readers, which Shakespeare unconsciously revealing Claudius’ betrayal. Alternatively, this may be a literal device used by Shakespeare intentionally, to foreshadow the revelation of Old Hamlet’s murder, perhaps to display the King’s guilty conscience as haunting him throughout his reign. The reference to this fratricide as the first killing in the Bible, reinforces the sin of Claudius’ terrible act, and highlight’s the need for justice.
Rotten {Marcellus}
Foul {Ghost}
‘Something is rotten in the state of Denmark’ 1.4.90
‘Revenge his foul and most unnatural murder’ 1.5.25
The lexical field of death and decay used throughout portray the deceptive misconduct carried out in Denmark, with morals and politics both corrupt due to Old Hamlet’s death, and Claudius’ sin - this idea of a ‘foul and unnatural murder’ challenges the King’s divine right, signifying that he is not the natural King and indicating an unbalance to the whole state, where a hero is needed to restore nature to this ‘unnatural’ situation - it is therefore ironic that only through killing Claudius’, and creating more deaths, that Hamlet can return Denmark to a peaceful country - in may aspect’s, Shakespeare indicates the endless cycle of deaths, where revenge is constantly needed.
Blossoms {Ghost]
‘Cut off even in the blossoms of my sin’ 1.5.76
A catholic reading would refer to the Ghost not having a chance to absolve for his sin, forced to face purgatory, and yet this murder, rather ironically, can only be righted by Hamlet also sending Claudius to the ‘other place’ - by using an euphemism to refer to Hell, a contrast to his outright reference to ‘heaven’, Hamlet shows his fear of death, constantly concerned with the afterlife. Further more, this quote highlight’s Claudius’ cruelty, after all he could have killed Old Hamlet when he was praying, allowing him to avoid purgatory - by heartlessly sending him to Hell, the need for vengeance is justified, and the idea of a certain kind of death, one to send Claudius to Hell, shows that death can indeed be a relief in some aspects. A modern reader may interpret the form of this play to be a ‘morality play’, one which examines mankind’s struggle against sin, in order to provide a moral lesson to the audience.
Sallied {Hamlet}
‘O that this too too sallied flesh would melt’ 1.2.29
The repetition of ‘too too’, a popular literary device of the Renaissance, further intensifies Hamlet’s feelings of regret regarding his life, and his desire to resolve into nothing indicates that he already has nothing to live for, and nothing to lose. Alternative interpretations of this quote, with ‘sallied’ suggesting that Hamlet is assailed, trapped even by life, replaced by ‘sullied’, which indicates that Hamlet is contaminated by life, as if it is poisonous, both demonstrate the relief death offers Hamlet.
Slaughter {Hamlet}
‘His canon ‘gainst self-slaughter. O God, O God’ 1.2.132
The repetition of ‘God’, sometimes published with exclamation marks to direct an actor’s tone of despair, further emphasizes Hamlet’s depression and melancholy, typical of the protagonist in a Revenge Tragedy, and may also be a plea to God, referring to divine law where the church regards suicide as forbidden, an influence of Shakespeare’s own Christian faith. By following religious morals, upheld even in his pain, Hamlet is humanized to the audience, and this further indicates the form of an ‘morality play’, where mankind’s struggle with sin, in this case suicide, is highlighted.
Quintessence {Hamlet}
‘What piece of work is a man - how noble in reason…how express and admirable in action…what is this quintessence of dust?’ 2.2.270
Hamlet’s view on death and living is portrayed through the tone of an actor’s delivery, with the semi-colons and commas suggesting pauses and contemplation here, indicating a brooding Hamlet, and yet some publications use more exclamation marks and question marks to demonstrate a declamatory style. Either way, when considering the worth of life, Hamlet points to some human qualities, which appears to an influence of the study of ‘humanitas’ in the Renaissance, when contemplating the point of living - Shakespeare’s use of an oxymoron in ‘quintessence of dust’ indicates the confusion that life produces, and yet the religious connotations of the fifth essence, the substance which heavenly bodies were thought to be composed off show the influence of Christianity holding him back from committing suicide.
Sleep {Hamlet}
‘To die, to sleep….devoutly to be wished. To die, to sleep-….ay, there’s the rub, for in that sleep of death what dreams may come’ 3.1.62
By comparing death to sleeping, Hamlet indicates the similarities of doing nothing physically in both, suggesting that life requires too much of him and he needs rest in order to end his suffering. The repetition implies that every night, when he sleep, he craves death - it haunts his mind constantly, tortuously even, yet while he ‘devoutly’ wishes for it, the religious reminder allows him to be aware of the consequences - his fear of what is to come, whether it be heaven, a ‘dream’, or hell, a nightmare, also holds him back. In this sense, there is a tone of resentment, the ‘rub’ creating the concept of trickery from every, perhaps even from God. After all, the Elizabethan era did undergo a religious reformation, so there was sure to be a certain confusion surrounding religion.
Country {Hamlet}
‘The undiscovered country from whose born no traveler returns’ 3.1.79
This metaphor explains Hamlet’s fear of death, rooted in his fear of the unknown, and of the possibility of Hell - his speculation might refer to the the story of Lazarus in Christianity, who was raised back to life by Jesus, demonstrating that only the power of God can defeat the last and most irresistible enemy of humanity - death. In this aspect, Hamlet is pleading with God to guide in him in regards to death, and yet this quote, showing his view of death explains how he lives his life - fear of death prevents his from carrying out certain acts.
Burial {Gravedigger}
‘Christian burial where she willfully seeks her own salvation’ 5.1.2
‘More pity that great folk should have countenance in this world to drown or hang themselves’ 5.1.26
The Gravedigger may be implying that Ophelia is seeking heaven prematurely by having a ‘Christian burial’ - he hints at her suicide, suggesting that she should be punished, and then further points out the difference in this world to the afterlife, where biblical justice will be brought to her, despite the relief she is allowed in this world, as a result of her wealth - interestingly, this juxtaposes with the relief Hamlet seeks in death from the painful world, perhaps highlighting suicide as a double-edged sword: temporary relief from a painful situation, resulting in more pain later on, from a Catholic reading.
Infinite {Hamlet}
‘A fellow of infinite jest’ 5.1.174
Ironically remarking on what appeared to be ‘infinite’, Hamlet expresses the concept of everything ending, perhaps implying that there is no point in living at all - to highlight this idea, Shakespeare uses Yorrick’s skull as a prop, indicating Hamlet’s fascination with both the literal, as well as the spiritual afterlife, and perhaps represents the destructive powers of death - nothing remains in this world forever, and what was once ‘jest’, happiness and laughter, has turned to nothing.
Beggar {Hamlet}
‘How a King may go a progress through the guts of a beggar’ 4.3.30
Hamlet juxtaposes a King and a beggar by placing them on the same level, referring to their remains and alluding to death as an equalizer - this further reinforces Claudius as an unnatural King, challenging the concept of his supposed divine right which won’t prevent Hamlet from taking his life. His hidden reference to Claudius’ impending death will end not only the King’s life, but his aspirations of power. It was for the throne that Claudius committed the murder, and by killing him and taking away this status, Hamlet is essentially seeking justice, now convinced he is morally obligated and righteously motivated to take the King’s life.
Arrest {Hamlet}
‘sergeant Death is strict in his arrest’ 5.2.320
By personifying death as a cruel officer who is ‘strict’, Hamlet demonstrates it as inevitable for everyone, something that can’t be avoided - this is rather ironic, considering his previous longing for death, however the implication of his ‘arrest’ is that he must appear in court and be judged, much like the Day of Judgement in the Bible, something he might be dreading. Alternatively, his ‘arrest’ may suggest a destination of the ‘prison-house’ that the Ghost describes purgatory as. This lexical field of jail indicates the harsh nature of death.
Serpent {Ghost}
‘The serpent that sting thy father’s life now wears his crown’ 1.5.39
The sibilance, along with the snake like metaphor, highlights Claudius’ sly and deceptive nature, emphasizing him as a King that is not to be trusted - the biblical imagery of the ‘serpent’ is reminiscent of Satan, directly challenging Claudius’ divine right as a King by placing him against God - this further foreshadows Hamlet’s determination to send Claudius to hell, as if he belongs there.
