direct quotes for mocks

Question 1

Revenge - Hamlet’s ‘overt’ revenge vs his ‘covert’ revenge

Answer 1

“He hath killed my King and whored my mother’ - possessive pronoun

Question 2

“He hath killed my King and whored my mother’

Answer 2

possessive pronoun - creates a contrast between his familial relationship with his mother and suggests it is his duty as a son to avenge the late king.

Question 3

Revenge as a form of divine retribution or justice - 1st quote

Answer 3

‘There’s a divinity that shapes our ends./ Rough-hew them how we will’

Question 4

‘There’s a divinity that shapes our ends./ Rough-hew them how we will’

Answer 4

Here the word ‘ends’ is polysemic, meaning that either God shapes our plans/purposes, or that God shapes our ultimate late/death. In both meanings however, revenge is enacted through Gods

Question 5

Revenge as a form of divine retribution or justice - 2nd quote

Answer 5

‘To punish me with this, and this with me,’

Question 6

‘To punish me with this, and this with me,’

Answer 6

The chiasmus- ‘To punish me with this, and this with me,’ suggests that Hamlet will also lace justice or revenge, since he will be punished by society and in relation to the divine law. Therefore, revenge is most certainly shown to be influenced by divinity, as a result the fate of characters is manipulated.

Question 7

How the delay of revenge suggests that it is morally wrong

Answer 7

‘Thus conscience does make cowards of us all.’

Question 8

‘Thus conscience does make cowards of us all.’

Answer 8

The delay of revenge is intended to show how revenge is perhaps not always morally praiseworthy. Hamlet takes so long because of his conscience. But shakespeare isnt saying this this is wrong of Hamlet necessarily, because through the delay Hamlet loses this conscience and does morally dubious things.

Question 9

An incorruptible friendship vs a corrupted friendship

Answer 9

‘Give me that man/ That is not passion’s slave, and I will wear him/In my heart’s core.”

Question 10

‘Give me that man/ That is not passion’s slave, and I will wear him/In my heart’s core.”

Answer 10

Hamlet flatters Horatio, he describes what Horatio is NOT with a metaphor of a slave, subservient to passion. Horatio’s ‘blood and judgement are so well commeddled/ That they are not a pipe for Fortune’s finger’ to play whatever sound she pleases. Again, this emphasises Horatio’s stoic nature and Inability to be corrupted by even fortune, which is personified to portray it as someone able to corrupt and manipulate men. Therefore, Horatio is an incorruptible man in a corrupt state, certainly not prone to being controlled by Claudius, just as R+G are.

Question 11

The corruption of family relationships - polonius quote

Answer 11

‘I have a daughter- have while she is mine-/ Who in her duty and obedience, mark,/ Hath given me this’

Question 12

‘I have a daughter- have while she is mine-/ Who in her duty and obedience, mark,/ Hath given me this’

Answer 12

Polonius sees his daughter as property to be utilised for his own personal and social gain, thus exposing their father-daughter relationship as corrupted by ‘politics and power’. To Claudius, he asserts: ‘I have a daughter- have while she is mine-/ Who in her duty and obedience, mark,/ Hath given me this’ [Hamlet’s love letter]. The possessive pronoun ‘mine’, as well as the connotations of submission in ‘obedience’ and ‘duty, emphasise their relationship as unbalanced. where Ophelia is used as a pawn in Polonius pursuit of power.

Question 13

The corruption of family relationships - polonius quote to reynaldo

Answer 13

‘windlasses and with assays of bias’

Question 14

‘windlasses and with assays of bias’

Answer 14

Shakespeare presents deception within family through Polonius distrust in aertes. Whilst giving Reynaldo instructions on how to spy Laertes, Polonius uses a variety of gaming metaphors: Reynaldo should conduct his mission with ‘windlasses and with assays of bias’. Since windless’ is hunting terminology, meaning to trap prey indirectly, the relationship of fatherson has been reduced to that of a predator-prey dynamic. Because ‘assays of bias’ is a metaphor referring to lawn bowling, where one attempts to curve their ball around their opponents ball in order to reach the target, the visual imagery suggests that their relationship is comparable to a game, where communication and trust has been replaced with deceit and underhanded approaches.

Question 15

Sexual corruption - Hamlet to Ophelia

Answer 15

‘Get thee to a nunnery. Why woudst thou be a/ breeder of sinners?’

Question 16

‘Get thee to a nunnery. Why woudst thou be a/ breeder of sinners?’

Answer 16

The imperative directed towards Ophelia highlights Ophelia’s sexual corruption, through the polysemy of the word ‘nunnery’ meaning both a convent (literal nunnery), therefore implying she should seek a convent to escape corruption. It could also mean the Elizabethan slang for a brothel a place of prostitution). Perhaps it is ambiguous because she is now corrupt anyway- either she can choose the path of chastity, or express her sexuality freely by prostituting herself. As a result, this antithesis means that the metaphor of a ‘breeder of sinners’ adds emphasis to the fact that Ophelia would be more suited to being a nun or a prostitute (the ironic juxtaposing titles), for now she is corrupt she will inevitably pass sin on to her child.

Question 17

Sexual corruption - Hamlet about Gertrude

Answer 17

‘whor’d’ ‘stained’ by her ‘incestious’

Question 18

‘whor’d’ ‘stained’ by her ‘incestious’

Answer 18

• Misogynistic imagery of sexual corruption and pros tuition is also seen through Hamlet’s attitude to Gertrude, who he believes has been ‘whor’d’ by Claudius.
• Likewise, according to Hamlet, Getrude has been ‘stained’ by her ‘incestious relations with her former husband’s brother. The metaphor of stained serves too as misogynistic imagery of sexual corruption as Hamlet suggests that Gertrude’s sexuality has tainted her.

Question 19

The betrayal of female characters - context. of gertrude

Answer 19

‘Frailty, thy name is woman.’

Question 20

‘Frailty, thy name is woman.’

Answer 20

Used in the context of Getrude, this alludes to her marrying so soon after her husband’s death. However, because of the
personification of an abstract noun, Frailty, we can interpret this as being representative of all women. as he suggests that the characteristic of being fickle is indivisible from the nature of women.

Question 21

The betrayal of friendships - Hamlet to R+G

Answer 21

“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 ot my compass.”

Question 22

“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 ot my compass.”

Answer 22

Hamlet uses the metaphor of a ‘pipe’ (a recorder) to reflect R+G’s treachery, betraying Hamlet by manipulating him in order to get the truth out of him. The anaphora emphasises the lengths to which R+G will go to manipulate Hamlet to reveal Hamlet’s mystery, playing Hamlet as if he is a mere object.

Question 23

Getrude’s sexuality as a betrayal to her late husband and son

Answer 23

‘A bloody deed- almost as bad, good mother,/ As kill a king and marry with his brother.’

Question 24

‘A bloody deed- almost as bad, good mother,/ As kill a king and marry with his brother.’

Answer 24

The sustained plosives throughout convey Hamlet’s disdain towards his mother for this betrayal, which is emphasised through the rhyming couplet. Drawing attention to the words ‘mother’ and ‘brother’, this further dramatises and adds impact onto the incestuous nature of Getrude and Claudius’ relationship.

Question 25

Madness is used to allow for free speech - Gertrude mourning

Answer 25

“Larded with sweet flowers / Which bewept to the grave did not go / With true-love showers”.

Question 26

“Larded with sweet flowers / Which bewept to the grave did not go / With true-love showers”.

Answer 26

This alludes to Gertrude never properly mourning her husband but marrying his brother instead. As Ophelia sings about the unvisited grave, the ‘true love showers juxtapose the clear signs of Getrude’s lack of love by her dismissal of mourning.

Question 27

Shakespeare explores the causes and treatment of madness

Answer 27

‘Fell into a sadness, then into a fast,/ Thence to a watch, then into a weakness,/ Thence to a lightness, and, by this declension/ Into the madness wherein now he raves.’

Question 28

‘Fell into a sadness, then into a fast,/ Thence to a watch, then into a weakness,/ Thence to a lightness, and, by this declension/ Into the madness wherein now he raves.’

Answer 28

Although Polonius is wrong, this suggests that excessive or unrequited love could lead to madness as Tosh arques. Hamlet’s love letter to Ophelia convinces Polonius that it is Hamlets love for Ophelia which has driven him mad; he ‘Fell into a sadness, then into a fast,/ Thence to a watch, then into a weakness,/ Thence to a lightness, and, by this declension/ Into the madness wherein now he raves.’

Question 29

Hamlet feigns madness but then actually becomes mad

Answer 29

‘put an antic disposition on’

‘What is the matter, my lord?”

Question 30

‘What is the matter, my lord?”

Answer 30

Polonius then follows up with a clarification, ‘What is the matter, my lord?” By “matter,” Polonius means the subject matter of what he is reading, but Hamlet deliberately misinterprets, responding with ‘between who?’. He takes ‘matter’ to mean something wrong as we do when we say (“What’s the matter with you?) and answers Polonius’ question with a question (maieutic/maieutically). As Cox argues, this is a comical moment for the audience, however it simultaneously shows how Hamlet feigns madness in the presence of Polonius. And, in the scheme of the plot, this serves a greater purpose- to prove the guilt of the king without appearing suspicious

Question 31

Friendship as a pure form of love

Answer 31

Horatio - “I am more an antique Roman than a Dane,”

Question 32

“I am more an antique Roman than a Dane,”

Answer 32

He is referencing the Roman virtue of loyalty and honor, particularly the Roman tradition of self-sacrifice for one’s friends or leaders. The literary device used here is allusion, as Horatio draws a direct comparison between himself and the ancient Romans, who valued loyalty to the death. This allusion to Roman ideals highlights Horatio’s unwavering loyalty to Hamlet, even in the face of death. For Shakespeare’s Elizabethan audience, this allusion would have resonated strongly. Roman history and literature, particularly works like those of Plutarch, were highly regarded in Renaissance England, and the virtue of loyalty was widely admired. By invoking the noble Roman tradition, Horatio emphasizes his devotion to Hamlet, presenting himself as a figure who would rather die in loyalty to his friend than live in a corrupt court under Claudius’s rule. Shakespeare uses this comparison to highlight the contrast between Horatio’s steadfast loyalty and the betrayal and corruption that permeates the Danish court.

Question 33

The complexity of Hamlet and Ophelia’s love

Answer 33

“I did love you once… I loved you not”

Question 34

“I did love you once… I loved you not”

Answer 34

Shakespeare uses Hamlet’s contradictory statement, “I did love you once… I loved you not”, to highlight the protagonist’s emotional turmoil and internal conflict. Through this vacillation, Shakespeare illustrates Hamlet’s struggle to reconcile his love for Ophelia with his overwhelming desire for revenge against his father’s murderer. The use of juxtaposition and antithesis emphasises Hamlet’s emotional instability, as his love and rejection of Ophelia represent his conflicting desires. Dramatic irony deepens the tragedy, as the audience understands that Hamlet’s harsh words are a result of his grief and need for vengeance, not his true feelings. Shakespeare’s purpose in this moment is to explore the destructive impact of Hamlet’s internal conflict, showing how his pursuit of revenge distorts his relationships and leads to his tragic downfall.

Question 35

The Fragility of Love – Hamlet and Ophelia

Answer 35

“suck the honey of his music vows”

Question 36

“suck the honey of his music vows”

Answer 36

Ophelia’s line “suck the honey of his music vows” alludes to the sweetness of Hamlet’s promises of love, yet it also foreshadows the bitterness and disappointment that will follow, illustrating the fragility and ephemeral nature of their bond.

Question 37

Metaphor and Trap within the title

Answer 37

“The play’s the thing. Wherein I’ll catch the conscience of the king.”

Question 38

“The play’s the thing. Wherein I’ll catch the conscience of the king.”

Answer 38

The title, “The Mousetrap,” works on multiple levels. First, it is a literal trap set by Hamlet to confirm his suspicions about Claudius’s guilt. “The play’s the thing. Wherein I’ll catch the conscience of the king.” When the Players arrive, Hamlet decides to stage a play in which Claudius’s crime is represented, because Hamlet has heard that seeing their own crimes on stage sometimes makes people reveal their guilt. Hamlet believes very strongly in the power of theatre to touch people’s innermost feelings. Nevertheless, Hamlet’s decision to stage a play is a strange one. He has struggled over and over with the difficulty of discovering a person’s real feelings from their outward presentation, and yet he seems to believe he will be able to discover Claudius’s guilt by watching his face at the play. This line suggests that Hamlet is not being entirely honest with himself. The play may be just another delaying tactic.

Question 39

The title “Mousetrap”

Answer 39

“tropically” versus “trapically”

Question 40

“tropically” versus “trapically”

Answer 40

The title itself is rich in meaning, as it reflects the play’s dual function as both a theatrical performance and a literal trap to catch Claudius. Furthermore, the pun on “tropically” versus “trapically” adds another layer of meaning to the title. In Shakespeare’s time, “tropically” was pronounced similarly to “trapically,” and this linguistic play emphasises the metaphorical aspect of the “trap” Hamlet sets up. The pun draws attention to the idea of “traps” both in the sense of a literal trick or device, and in the rhetorical sense, as a form of argument or deception. This reflects Hamlet’s ability to manipulate language, which is a characteristic of his intellectual and emotional complexity. The Mousetrap thus becomes both a literal device within the play and a metaphor for the web of lies and deceit that Hamlet is trying to unravel. This use of the “play within the play” to expose Claudius’s guilt highlights Hamlet’s intellectual and moral dilemma, as he is faced with the challenge of distinguishing between truth and illusion, a central theme of the play.

Question 41

The Play as a Mirror of Society - (Used as a warning/messages to society - it is a direct parallel and mirrors society

Answer 41

“The play’s the thing / Wherein I’ll catch the conscience of the king.”

Question 42

“The play’s the thing / Wherein I’ll catch the conscience of the king.”

Answer 42

Hamlet’s decision to stage a play that mirrors his father’s death, “The play’s the thing / Wherein I’ll catch the conscience of the king.” and the king’s reaction to it “Give me some light. Away!”, functions as a subtle critique of the authority structures in the Danish court and, by extension, in the Elizabethan world. Shakespeare was keenly aware of the political tension in his own time, particularly around the issue of succession, power, and the legitimacy of rulers. Through Hamlet, Shakespeare is able to raise questions about the nature of political power and its ability to corrupt. Claudius’s reaction to “The Mousetrap,” in which he abruptly rises and leaves the room, is the moment that confirms Hamlet’s suspicions, revealing Claudius’s deep guilt. This moment suggests the inability of a corrupt ruler to hide his true nature, just as Claudius’s reaction to the play exposes his inner turmoil and guilt.

Question 43

The Power of Theatre

Answer 43

.”To be, or not to be, that is the question

Question 44

.”To be, or not to be, that is the question

Answer 44

Shakespeare highlights the role of actors and their performances, particularly in the context of Hamlet’s reaction to his father’s death. Hamlet is disturbed by the fact that neither he nor his mother are visibly mourning the loss of his father, which causes him to reflect deeply. Shakespeare uses this emotional tension to help people come to terms with their own emotions.