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paper 2 - drama > Hamlet 3:2 > Flashcards

Hamlet 3:2 Flashcards

1
Q

metatheatre

A

play within a play (the one in scene 3 is old-fashioned)
- deceit and performance

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2
Q

Hamlet in 3:2

A
  • break in his antic disposition
  • becomes genuinely interested in the theatre and players
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3
Q

Hamlet’s advise to the players

A

‘Nor do not saw the air too much with your hand’
‘Be not too tame neither, but let your own discretion be your tutor’
- don’t over-act or under-act
- shows his knowledge and enthusiasm for acting

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4
Q

‘it out-…’

A

‘it out-herods Herod.’ - Hamlet to players
- more evil than Herod
- Herod was a tyrannical ruler who marries his brothers’ wife

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5
Q

‘Suit the action to…’

A

‘Suit the action to the word, the word to the action’ - Hamlet
- chiasmus

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6
Q

‘to hold, as ‘twere…’

A

‘to hold, as ‘twere, the mirror up to nature’ - Hamlet
- theatre should reflect the world it portrays
- represents Hamlet’s attempt to hold ‘the mirror’ up to Claudius

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7
Q

‘they imitated…’

A

‘they imitated humanity so abominably.’ - Hamlet to players
- inhumane
- criticises Claudius’ performative nature

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8
Q

theme of acting

A
  • Claudius
  • Hamlet
  • spies
  • players
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9
Q

‘Nay, do not think I…’

A

‘Nay do not think I flatter;/ For what advancement may I hope from thee,/ That no revenue hast but thy good spirits/ To feed and clothe thee? Why should the poor be flatter’d?’ - Hamlet to Horatio (monologue)
- nothing to gain, genuine appreciation of Horatio
- AO5 (possible homosexual interpretation)

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10
Q

‘No, let the candied…’

A

‘No, let the candied tongue lick absurd pomp’ - Hamlet to Horatio (monologue)
- ‘absurd pomp’ - the kind of people who get flattered
- insulting Denmark and the court system under his uncle (and therefore insulting the english court that it reflects)

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11
Q

‘Since my dear soul..’

A

‘Since my dear soul was mistress of her choice’ - Hamlet to Horatio (monologue)
- authenticity
- made the conscious choice to have Horatio as a friend (not circumstance due to the court)
- comparison to R+G (furthered by the ‘Fortune’ metaphor’s return)

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12
Q

what does Hamlet admire about Horatio?

A
  • self-control (‘not passion’s slave’)
  • reserve
  • ‘blood and judgement are so well comeddled’
  • ability to take the ups with the downs (‘A man that Fortune’s buffets and rewards/ Hast ta’en with equal thanks’)
  • cannot be played or controlled (‘not a pipe for Fortune’s finger/ To sound what stop she please’)
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13
Q

‘A man that Fortune’s buffets…’

A

‘A man that Fortune’s buffets and rewards/ Hast ta’en with equal thanks’ - H to Horatio (monologue)
- takes the ups with the downs

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14
Q

‘…are so well comeddled…’

A

‘Whose blood and judgement are so well comeddled/ That they are not a pipe for Fortune’s finger to sound what stop she please.’ - Hamlet to Horatio (monologue)
- passions and judgement are balanced
- cannot be played or controlled

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15
Q

‘I prithee, when thou…’

A

‘I prithee, when thou seest that act afoot,/ Even with the very comment of thy soul/ Observe my uncle.’ - Hamlet involves Horatio in his plan to expose claudius (monologue)
- leans on Horatio for support

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16
Q

‘If his occulted guilt…’

A

‘Even if his occulted guilt/ Do not itself unkennel in one speech,/ It is a damned ghost that we have seen’ - Hamlet to Horatio (monologue)
- ‘occulted guilt’ = “hidden guilt”
- if C doesn’t react, the Ghost is devilish

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17
Q

‘If ‘a steal aught…’

A

‘If ‘a steal aught the whilst this play is playing/ And scape detecting, I will pay the theft.’ - Horatio in reply to H’s monologue and plan
- accepts responsibility

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18
Q

‘They are coming to the…’

A

‘They are coming to the play; I must be idle.’ - Hamlet
- ‘idle’ could mean unoccupied (to greet guests) or mad (‘antic disposition’)

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19
Q

‘Excellent, i’ faith; of the chameleon’s…’

A

‘Excellent, i’ faith; of the chameleon’s dish. I eat the air, promise-cramm’d; you cannot feed capons so.’ - Hamlet to King
- idea of empty being given nothing/nothing to feed on
- chameleons were believed to ‘eat the air’
- filled with promises only

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20
Q

‘I did enact…’

A

‘I did enact Julius Ceaser; I was kill’d i’ th’ Capitol;/ Brutus kill’d me.’ - Polonius to Hamlet
- their dynamic is represented
- Polonius’ death

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21
Q

‘No, good mother, here’s…’

A

‘No, good mother, here’s metal more attractive.’ - Hamlet
- magnetic
- rather sit by Ophelia (rejects Gertrude)
- trying to evoke jealousy?

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22
Q

‘Lady, shall I lie in…’
‘I mean, my…’
‘Do you think…’

A

‘Lady, shall I lie in your lap?’ - H to O
- ‘lap’ = sexual organs
‘I mean, my head upon your lap?’ - H to O
- trying to trip her up
‘Do you think I meant country matters?’ - H to O
- she responds politely, ‘I think nothing, my lord.’

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23
Q

‘That’s a fair thought…’

A

‘That’s a fair thought to lie between the maid’s legs.’ - Hamlet to Ophelia
- its fair for him to be sexual to her

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24
Q

‘Nothing’

A

‘Nothing’ - Hamlet
- in conversation to O after making innuendos about sexual organs
- “thing” = penis “no thing” = female

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25
Q

‘For look you how cheerfully my…’

A

‘For look you how cheerfully my mother looks, and my father died within’s two hours.’ - Hamlet
- again the time-warp
- player version of his father is about to die

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26
Q

‘So long? Nay then…’

A

‘So long? Nay, then, let the devil wear black, for I’ll have a suit of sables. O heavens!’ - Hamlet to O
- sarcasm about his mourning
- that he can leave the dark clothes and wear something more showy

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27
Q

‘die two months ago, and…’

A

‘die two months ago, and not forgotten yet? Then there’s hope a great man’s memory may outlive his life half a year’ - Hamlet to O
- continue his sarcasm about his father’s death
- response to Ophelia’s correction about the time frame

28
Q

‘The Dumb Show’

A

‘The Dumb Show’ - SD
- silent

29
Q

key points from ‘The Dumb Show’

A
  • ‘King and a Queen, very lovingly’
  • ‘makes show of protestation’
  • ‘seeing him asleep, leaves him’
  • ‘a Fellow, takes off his crown, kisses it, pours poison in the sleeper’s ears’
  • ‘The Poisoner woos the Queen’ ‘she seems harsh awhile, but in the end accepts his love.’
30
Q

‘Ay, or any show that you will…’

A

‘Ay, or any show that you will show him. Be not asham’d to show, he’ll not shame to tell you what it means’ - Hamlet to O
- ‘show’ the actor something intimate
- again sexualising Ophelia
- generalising

31
Q

‘And thou shalt live in this…’

A

‘And thou shalt live in this fair world behind,/ Honour’d, belov’d; and haply one as kind/ For husband shalt thou -‘ - Player king
- shows the king (representing H sr.) as happy for her to remarrry

32
Q

‘None wed the..’

A

‘None wed the second but who kill’d the first.’ - Player Queen

33
Q

‘A second time I kill my…’

A

‘A second time I kill my husband dead,/ When second husband kisses me in bed.’ - Player Queen

34
Q

‘The passion…’

A

‘The passion ending, doth the purpose lose.’ - Player King
- lose motivation once emotions calm
- will move on from the king

35
Q

‘Whether love lead…’

A

‘Whether love lead fortune or else fortune love.’ - Player King
- love determines destiny or destiny determines love

36
Q

‘So think thou wilt no…’

A

‘So think thou wilt no second husband wed; But die thy thoughts when they first lord is dead.’ - Player King
- thoughts will change once he dies

37
Q

‘The lady doth…’

A

‘The lady doth protest too much, methinks.’ - Queen talking about the player queen
- Hamlet focuses on Gertrude’s reaction ahead of Claudius’
- distrust and misogyny

38
Q

what does Hamlet say the play is called (3:2)?

A

‘The Mouse-trap.’

39
Q

‘Your majesty, and we that have…’

A

‘Your majesty, and we that have free souls, it touches us not. Let the galled jade wince’ - Hamlet
- targeting it at Claudius, making him acutely aware of his guilt
- it won’t bother those with clear consciences

40
Q

‘It would cost you a…’

A

‘It would cost you a groaning to take off mine edge.’ - Hamlet to Ophelia
- innuendos, Ophelia is aware

41
Q

‘Still better…’
‘So you…’

A

‘Still better, and worse.’ - O
‘So you mis-take your husbands.’ - H
- marriage vows
- expresses anger

42
Q

'’A poisons him…’

A

'’A poisons him i’ th’ garden for his estate’ - H (referring to the play but also Claudius)
- what H thinks the motivation is
- ‘[Pours the poison in his ears.]’

43
Q

Hamlet’s reaction to ‘The King rises.’ - O

A

‘What, frighted with false fire!’ - H
- “just a play” - pushing it
- indication of guilt
- ‘Let the galled jade wince’

44
Q

symbolism of the King’s ‘Give me some light’

A
  • wants clarity and hope
45
Q

‘Why, let the stricken…’

A

‘Why, let the stricken deer go weep’ - H about C

46
Q

Horatio and Hamlet’s reflection on C’s reaction to the play

A

‘Half a share’ - Horatio
‘A whole one, I.’ - Hamlet (certainty)

47
Q

‘for for me to put him…

A

‘for for me to put him to his purgation would perhaps plunge him into far more choler.’ - Hamlet
- H is not the right person to relieve the King’s temper
- ‘purgation’ - absolve of sins

48
Q

‘If it shall please you to make me a…’

A

‘If it shall please you to make me a wholesome answer, I will do your mother’s commandment’ - Gil
- getting frustrated with Hamlet

49
Q

‘Make you a wholesome…’

A

‘Make you a wholesome answer; my wit’s diseas’d’ - H
- antic disposition

50
Q

‘We shall obey…’

A

‘We shall obey, were she ten times our mother.’ - Hamlet
- royal we (distances him from his former friends, stepping into kingship)
- H doesn’t think she deserves to be followed

51
Q

‘My lord, you once…’

A

‘My lord, you once did love me.’ - Ros to H
- shows that Hamlet has chafed
- R attempts to win Hamlet’s confidence again, reminding him of better times and past friendship

52
Q

‘You do surely bar…’

A

‘You do surely bar the door upon your own liberty, if you do deny your griefs to your friend.’ - Ros
- trying to reach Hamlet
- referring to the ‘Denmark’s a prison’ line earlier

53
Q

‘Sir, I lack…’

A

‘Sir, I lack advancement.’ - H
- he is not able to progress politically or socially (as heir to the throne)
- sense of frustration (perhaps hinted to earlier in his talk to Claudius of empty ‘promises’

54
Q

‘How can that be, when you have…’

A

‘How can that be, when you have the voice of the King himself for your succession in Denmark?.’ - Ros
- how can that be when the king has named you successor
- means little given Claudius took the throne

55
Q

‘Ay, sir, but ‘While the…’

A

‘Ay, sir, but ‘While the grass grows’ - the proverb is something musty.’ - Hamlet
- refers to ‘While the grass grows, the seed starves’
- while Claudius prospers, Hamlet cannot
- ALLUSION

56
Q

‘why do you go about to…’

A

‘why do you go about to recover the wind of me, as if you would drive me into a toil?’ - H
- holding one of the ‘recorders’ (idea of being played)
- “Why are you maneuvering the conversation, as if you’re trying to take advantage of me, like a hunter moving upwind of his prey to drive it into a net?”

57
Q

What does Hamlet say when Gil says he cannot play one of the ‘recorders’?

A

‘It is as easy as lying: govern these ventages with your fingers and thumb’ - H
- how naturally lying comes to those at court
- ‘govern’ implies control

58
Q

‘But these cannot I…’

A

‘But these cannot I command to ant utterance of harmony; I have not the skill.’ - Guil after H points out he is playing the instrument
- this offends Hamlet who expressed anger that Guil claims not to have the skill to play the pipe but presumes to ‘play’ him

59
Q

‘Why, look you now, how…’

A

‘Why, look you now, how unworthy a thing you make of me! You would play upon me’ - H
- can play Hamlet but not the pipe (‘I have not the skill’)
- ‘do you think I am easier to be play’d on than a pipe?’ - H

60
Q

‘do you think I am…’

A

‘do you think I am easier to be play’d on than a pipe?’ - H
- Guil saying he doesn’t have ‘the skill’ to play the pipe but (as Hamlet says) attempts to ‘play’ H

61
Q

‘Call me what instrument…’

A

‘Call me what instrument you will, though you can fret me, yet you cannot play upon me.’ - Hamlet to Guil
- ‘fret me’ - make him angry/fret the strings

62
Q

‘Then I will come to…’

A

‘Then I will come to my mother by and by. [Aside] They fool me to the top of my bent.’ - Hamlet
- obeys Polonius’ request to see his mother
- ‘top of my bent’ - pulled to his extreme/full extent

63
Q

'’Tis now the very witching…’

A

'’Tis now the very witching time of night,/ When churchyards yawn, and hell itself breathes out/ Contagion to this world.’ - H (soliloquy)
- ‘witching time of night’ - uses the same phrase in Macbeth before he kills Duncan (the king)
- referring to souls of the dead (like the Ghost) - is he one of the contagions
- personification of hell
- belief that night caused illness

64
Q

‘Now could I drink…’

A

‘Now could I drink hot blood,/ And do such bitter business as the day/ Would quake to look on.’ - Hamlet (soliloquy)
- witches were believed to ‘drink hot blood’
- Hamlet gets carried away here with increasingly violent imagery, the caesura ‘to look on. Soft!’ shows him collecting himself and the change of course of the soliloquy
- can do things in the night that you could not in the day

65
Q

‘O heart, lose not…’

A

‘O heart, lose not thy nature; let not ever/ The soul of Nero enter this firm bosom.’ - Hamlet (soliloquy)
- will not behave like the Roman emperor nero (power struggles w/ his mother may have led to him murdering her)
- chooses to turn away from the anger
- refuses to stoop to Claudius’ level

66
Q

‘Let me be cruel…’

A

‘Let me be cruel, not unnatural:/ I will speak daggers to her, but use none.’ - Hamlet (soliloquy)
- will be harsh but not violent (the Ghost’s request)
- Gertrude in 3:4 says ‘These words like daggers enter into my ears’ to H

67
Q

‘My tongue and…’

A

‘My tongue and soul in this be hypocrites’ - Hamlet (soliloquy)
- separating the parts of him: tongue represents rational discourse, his soul the emotional side
- ‘hypocrites’ implies these two sides lead him different ways and is not happy about softening his words

paper 2 - drama (49 decks)

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