Hamlet 3:4 Flashcards

1
Q

Where is 3:4 set? Why is this significant?

A
  • ‘The Queen’s closet.’
  • her intimate, private space, undertones of female sexuality
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2
Q

How does Lawrence Olivier’s Hamlet present the closet scene?

A
  • 1948
  • provocative and freudian (Ernest Jones’ Oedipus essay)
  • placed a bed in the closet where most productions don’t
  • we are the ghost (its film not stage)
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3
Q

‘Hamlet, thou hast thy…’
‘Mother, you have…’

A

‘Hamlet, thou hast thy father much offended.’ - Queen
‘Mother, you have my father much offended.’ - H
- the Queen is talking about Claudius but Hamlet talks of H sr.
- Hamlet is quickly disrespectful, going on to describe her ‘wicked tongue’ and G says ‘Have you forgot me?’

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4
Q

‘Have you…’

A

‘Have you forgot me?’ - G to H
- “Have you forgotten I’m your mother?”
- H is being disrespectful

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5
Q

‘You are the Queen…’

A

‘You are the Queen, your husband’s brother’s wife;/ And - would it were not so! - you are my mother.’ - Hamlet to G
- emphasises the incestuous remarriage
- ‘would it were not so! - you are my mother’ (she is his mother though he wishes otherwise)

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6
Q

‘Nay then, I’ll set those…’

A

‘Nay then, I’ll set those to you that can speak.’ - Gertrude
- attempting to regain her power, will fetch those who can speak with more force

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7
Q

‘Come, come, and sit…’

A

‘Come, come, and sit you down; you shall not budge./ You go not till I set you up a glass/ Where you may see the inmost part of you.’ - Hamlet
- Hamlet has the control, is trying to instruct her
- internal stage directions (H lays his hands on her given by her reaction: ‘Help, help, ho!’)
> already gone against what he said - ‘I will speak daggers to her but use none’

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8
Q

‘What wilt thou…’

A

‘What wilt thou do? Thou wilt not murder me?/ Help, help, ho!’ - Gertrude
- her reaction implies Hamlet has become violent in some manner
- the questioning tone of ‘Thou wilt not murder me’ shows the distance between this mother and son

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9
Q

Hamlet’s reaction to realising the presence of someone behind the arras

A

‘How now! A rat?/ Dead, for a ducat, dead! [Kills Polonius with a pass through the arras.]’
- no reason or sign of deliberation, just acts (doesn’t even identify the person)
- loses the moral ground, blurs the hero-villain line, Laertes will want revenge
- he presumes it is the King - ‘Is it the King?’ - did he kill based on this or because he is jealous of anyone who gets to be in this intimate space with his mother

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10
Q

‘O, what a rash…’

A

‘O, what a rash and bloody deed is this!’ - Gertrude
- gets to turn the dynamic on Hamlet, he’s lost the morality defence
- however H moves on and turns the conversation back on Gertrude quickly ‘almost as bad […] as kill a King’

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11
Q

‘A bloody deed! - almost as…’

A

‘A bloody deed! - almost as bad, good mother,/ As kill a king and marry with his brother.’ - Hamlet
- turns the conversation back on Gertrude
- H holds G responsible not C (‘kill a king’)
- she appears shocked at the suggestion: ‘As kill a king!’

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12
Q

‘Thou wretched…’

A

‘Thou wretched, rash, intruding fool, farewell!’ - Hamlet once he reveals the man he has murdered is Polonius
- cold response
- circular action, he was spying behind the arras for Ophelia and Hamlet’s conversation earlier

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13
Q

‘Leave wringing…’

A

‘Leave wringing of your hands. Peace; sit you down’ - H to Gertrude
- believes she is distressed and tries to calm her but she is actually angry (‘thou dar’st wag thy tongue/ In noise so rude against me?’)
- internal stage directions

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14
Q

‘Such an act…’

A

‘Such an act/ That blurs the grace and blush of modesty’ - Hamlet to G
- ‘blurs’ - morality has been blurred, none of these characters seem truly good
- semantic field of feminine and royal language (‘grace’ ‘blush’ ‘modesty’ ‘rose’ ‘fair’ ‘love’), undertone of lost purity

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15
Q

‘tales off the rose/ From…’

A

‘takes off the rose/ From the fair forehead of an innocent love,/ And sets a blister there’ - Hamlet to G
- continued feminine semantic field
- ‘rose’ ‘fair’ and ‘innocent love’ refer to G’s relationship with Hamlet Sr. whilst ‘blister’ refers to Claudius
- ‘blister’ is an allusion to pox/syphilis - sexual impurity as well as corruption and disease associated with Claudius

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16
Q

‘makes marriage vows…’

A

‘makes marriage vows/ As false as dicers’ oaths.’ - H to G

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17
Q

‘O, such a deed…’

A

‘O, such a deed/ As from the body of contraction plucks/ The very soul, and sweet religion makes/ A rhapsody of words.’ - H to G
- an act that takes the soul from the marriage contract and turns sweet religion into nothing but a collection of words

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18
Q

‘Heaven’s face does…’

A

‘Heaven’s face does glow/ O’er this solidity and compound mass/ With heated visage, as against the doom -/ Is thought-sick at the act.’ - Hamlet to G
- the sky turns red over the earth as if it is judgement day
- Hamlet has a sort of preaching tone, as if he feels superior to G and knows what heaven would think of Gertrude (‘thought-sick at the act’)
- poetic language

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19
Q

‘Look here upon this…’

A

‘Look here upon this picture and on this./ The counterfeit presentment of two brothers.’ - Hamlet to G
- internal stage directions (holding up two photos, In Lawrence Olivier’s version he uses two lockets one of Hamlet’s and one of Gertrude’s)
- physical comparison of the two brothers, almost patronising (then moves to character-based comparison)

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20
Q

how does Hamlet describe his father (H sr) in his comparison of Gertrude’s two lovers

A
  • very positive, glorifying language with classical allusions to divinity and heroes
  • ‘grace’ ‘Hyperion’s curls’ ‘Jove himself’ ‘eye like Mars’ ‘herald Mercury’ ‘heaven-kissing hill’ ‘give the world assurance of a man’
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21
Q

‘See what grace…’

A

‘See what grace was seated on this brow;/ Hyperion’s curls; the front of Jove himself;/ An eye like Mars, to threaten and command’ - Hamlet to G about his father
- glorifying, both in terms of who he was and how he was as King (‘threaten and command’)
- internal stage directions: ‘this brow’
- ‘Hyperion’s’ ‘Jove’ ‘Mars’ are all classical allusions to Gods of Roman and Greek mythology (plus ‘Mercury’)
- associating his father with divinity

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22
Q

‘A station like the herald…’

A

‘A station like the herald Mercury/ New lighted on a heaven-kissing hill’ - Hamlet to G about his father
- placing his father as close to heaven and God (claudius is instead a ‘moor’)
- continued classical allusion (‘Mercury’)

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23
Q

‘A combination and…’

A

‘A combination and form indeed/ Where every God did seem to set his seal,/ To give the world assurance of a man.’ - Hamlet about H sr.
- hyperbole, presenting H sr. as the ideal man

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24
Q

‘This was your…’

A

‘This was your husband. Look you now on what follows:/ Here is your husband, like a’ - Hamlet to G
- internal stage directions (‘This was’ ‘Here is’)
- caesura separates Hamlet sr from Claudius
- direct comparison and emphasising the remarriage

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25
'Here is your...'
'Here is your husband, like a mildew'd ear/ Blasing his wholesome brother. Have you eyes?' - Hamlet to G - compares the brothers to two ears of corn, one healthy, one diseased - 'ear' could be H's attempt to test what G knows about H sr.'s death - 'mildew'd' - disease and corruption associated with Claudius
26
'Have you eyes?/ Could...'
'Have you eyes?/ Could you on this fair mountain leave to feed,/ And batten on this moor? Ha! Have you eyes?' - Hamlet to G - where H sr. is compared to a 'fair mountain', Claudius is a contrasting, lowly 'moor'
27
'You cannot call it...'
'You cannot call it love; for at your age/ The heyday in the blood is tame, it's humble,/ And waits upon the judgement' - Hamlet to G - argues that she cannot experience love or desire at her age - is going against the ghost and turning on his mother instead of Claudius
28
'And waits upon the judgement....'
'And waits upon the judgement, and what judgement/ Would step from this to this?' - Hamlet - use of 'judgement' implies religious morality, he is sermonising despite killing Polonius only a few moments ago - MORAL AUTHORITY - 'this to this' is continued comparison of the brothers/husbands
29
'for madness would not...'
'for madness would not err,/ Nor sense to ecstasy was ne'er so thrall'd/ But it reserv'd some quantity of choice/ To serve in such a difference.' - Hamlet - "for even a madman would not make this mistake, and sense was never so entirely bound to desire that it did not maintain the power to choose in such cases" - completely unjustified decision to choose Claudius, continued theme of madness within the play and this scene especially
30
'O shame! where...'
'O shame! where is thy blush?' - Hamlet to G - 'blush of modesty'
31
'O Hamlet, speak...'
'O Hamlet, speak no more!/ Thou turn'st my eyes into my very soul' - G - she feels shamed, Hamlet has succeeded
32
'Nay but to live...'
'Nay but to live/ In the rank sweat of an enseamed bed,/ Stew'd in corruption, honeying and making love/ Over the nasty sty!' - H to G - vivid language reveals disgust and horror, nauseating sweetness contrasted with the squalor of a pig-'sty' - 'rank' echoes Claudius - 'enseamed' - saturated with grease - semen? - 'Stew'd' - heat, fat, and the Elizabethan word for brothel - 'corruption' and 'sty' associated with Claudius
33
'O, speak to me...'
'O, speak to me no more!/ These words like daggers enter in my ears;/ No more, sweet Hamlet.' - Gertrude - 'I will speak daggers to her' - 'enter in my ears'
34
'A murderer and a...'
'A murderer and a villain!/ A slave that is not twentieth part the tithe/ Of your precedent lord' - Hamlet to G - returning to the topic of Claudius - C does not compare to H sr.
35
'That from a shelf the...'
'That from a shelf the precious diadem stole/ And put it in his pocket!' - Hamlet - 'diadem' - crown - Claudius stole the crown
36
'No...' '[Enter...'
'No more!' - G '[Enter Ghost.]' - supporting the queen - people normally see the ghost too but Gertrude will not be able to: 'Alas, he's mad!' - this allows her to ignore his comments about Claudius and raises the question as to whether Hamlet really is mad
37
'Do not forget...'
'Do not forget; this visitation/ Is but to whet thy almost blunted purpose.' - Ghost
38
'Conceit in...'
'Conceit in weakest bodies strongest works.' - Ghost to H - imagination is most effective in weak people (women in the eyes of the audience)
39
'That you do...'
'That you do bend your eye on vacancy,/ And with th' incorporal air do hold discourse?' - Gertrude - confirming she cannot see the ghost - hold conversation with "thin air"
40
'And, as the sleeping...'
'And, as the sleeping soldiers in th'alarm,/ Your bedded hairs like life in excrements/ Start up and stand on end.' - Gertrude - stereotypical image of a mad man - rooted hairs rise as if they have a life of their own
41
'Look you how...'
'Look you how pale he glares./ His form and cause conjoin'd, preaching to stone,/ Would make them capable.' - Hamlet - his appearance and story (the ghost's) could make stones feel
42
'Do not look upon me...'
'Do not look upon me,/ Lest with this piteous action you convert/ My stern effects; then what I have to do will want true colour - tears perchance for blood.' - Hamlet to Ghost - tells the ghost not to look at him as this will turn his anger to grief ('tears perchance for blood'), taking away the 'true colour' from what he must do - avenge his father
43
'Do you see...' 'Nothing at...'
'Do you see nothing there?' - H 'Nothing at all; yet that is I see.' - G
44
'This is the very...'
'This is the very coinage of your brain./ This bodiless creation ecstasy/ Is very cunning in.' - G - hallucinations, madness, imagination - 'ecstasy' echoes Ophelia's 'Blasted with ecstasy' - the two women
45
'My pulse as yours doth...'
'My pulse as yours doth temperately keep time,/ And makes as healthful music. It is not madness/ That I have utt'red.' - Hamlet - trying to prove his sanity - 'It is not madness' is the turning point where Hamlet know longer keeps up his 'antic disposition' with his mother - trust?
46
'Mother, for love of...'
'Mother, for love of grace,/ Lay not that flattering unction to your soul,/ That not your trespass but my madness speaks' - Hamlet to G - back to sermonising but more imploring 'for love of grace' (the Ghost has softened him) - 'Lay not that ... speaks' - "Do not flatter yourself that it is my madness rather than your sin that we are talking about" - does Hamlet hold less power now?
47
'It will but skin and...'
'It will but skin and film the ulcerous place,/ Whiles rank corruption, mining all within/ Infects unseen.' - Hamlet to G - moves conversation back to Gertrude's sins with grotesque, physically jarring language - 'corruption' and 'infects' hold similar connotations to the 'mildew'd ear' used to describe Claudius earlier in the scene - again, 'rank' echoes C's description of his sins
48
'Confess yourself to...'
'Confess yourself to heaven;/ Repent what's past; avoid what is to come' - H to G - sermonising, attempting to save her (his father and religious ideas of judgement - condescending given he just killed someone
49
'And do not spread the...'
'And do not spread the compost on the weeds,/ To make them ranker.' - H to G - "do not make your sins worse" - 'ranker' again
50
grotesque language H uses to describe Gertrude's supposed sins
'skin' 'film' 'ulcerous' 'weeds' 'rank'
51
'O Hamlet, thou...' 'O, throw away the...'
'O Hamlet, thou hast cleft my heart in twain.' - G 'O, throw away the worser part of it,/ And live the purer with the other half.' - H - broken heart, one half with C the other with H - making her choose
52
'Good night - but go...'
'Good night - but go not to my uncle's bed;/ Assume a virtue, if you have it not.' - H to G - believes he has authority - asks her to pretend to be virtuous (inversion, she hasn't lied yet)
53
'Refrain to-night...'
'Refrain to-night;/ And that shall lend a kind of easiness/ To the next abstinence' - H - reflects Elizabethan ideas about female sexuality even though a modern audience may view Hamlet as overbearing and patronising here - it should be noted that with conjugal rights it is not up to Gertrude to refrain
54
For use almost can...'
'For use almost can change the stamp of nature,/ And either curb the devil, or throw him out,/ With wonderous potency.' - H
55
'I'll blessing beg...'
'I'll blessing beg of you.' - H to G - proper order of things, son kneeling for a mother's blessing (as L does to P in 1:2)
56
'For this same lord...'
'For this same lord/ I do repent; but Heaven hath pleas'd it so,/ To punish me with this' - H - showing remorse for killing Polonius and recognises that he will be punished for it
57
'That I must be their...'
'That I must be their scourge and minister.' - Hamlet - agent of the heavens
58
'I must be cruel...'
'I must be cruel only to be kind' - H to G
59
'What shall...'
'What shall I do?' - G - instead of replying to this with what he thinks she should do he returns to talking of her sex life and what she shouldn't do - 'Not this, by no means, that I bid you do:'
60
'Not this, by no...'
'Not this, by no means, that I bid you do:' - H
61
What does H tell G not to do?
- 'Let the bloat King tempt you again to bed' - 'Pinch wanton on your cheek' - 'call you his mouse' - 'pair of reechy kisses' - 'paddling in your neck with his damn'd fingers'
62
'Let the bloat..'
'Let the bloat King tempt you again to bed' - H - 'bloat', disgust aimed at C - 'reechy kisses'
63
'And let him, for...'
'And let him, for a pair of reechy kisses' - H - 'reechy' - reaking (disgust aimed at Claudius) - 'bloat King'
64
'Make you ravel all this...'
'Make you ravel all this manner out,/ That I essentially am not in madness,/ But mad in craft.' - H - asking G not to tell Claudius that he's not mad (asking someone who thinks he's mad to pretend he's mad)
65
'Be thou assur'd...'
'Be thou assur'd, if words be made of breath/ And breath of life, I have no life to breathe/ What thou hast said to me.' - G
66
'and my two school...'
'and my two school-fellows,/ Whom I trust as I will adders fang'd' - H - 'adders fang'd' - poisonous snakes - reveals his distrust for Ros and Guil which suggests he is convinced of G's loyalty to him
67
'They bear the...'
'[Ros and Guil] bear the mandate; they must sweep my way/ And marshal me to knavery.' - H - they have the king's orders and are to prepare his way and lead him into some kind of trickery
68
'Hoist with his...'
'Hoist with his own petard' - H - poetic justice - revealing to G that he plans to trap Ros and Guil
69
'O, 'tis most...'
'O, 'tis most sweet/ When in one line two crafts directly meet.' - H - when two plots or cunning devices meet (and one destroys the other)
70
'Indeed, this counsellor...'
'Indeed this counsellor/ Is now most still, most secret, and most grave,/ Who was in life a foolish prating knave. Come, sir, to draw toward an end with you.' - H about P - disrespect towards Polonius/ his body ('lug the guts' 'foolish prating knave') - sours the end of the scene