Hamlet Act 1.1 Quotes Flashcards
sentiles
*Enter Barnardo and Francisco, two sentinels.
Alexandra Shephard: masculine self-control basis for patriarchy in Renaissance England
middle of 1.1
elements of stichomythia - in media res
who
“Who’s there?” Bernardo
Traditional sentry challenge given by minor characters to establish atmosphere of paranoia, espionage (government spying on ppl)
A suspicion of a threat – and a question of identity
nay
“Nay, answer me. Stand and unfold yourself.” Francisco
Symmetry in the power dynamic between these two minor characters, challenging each other. Unfold = normally applied to cloth or otherwise inanimate and yet here applied to human beings - passive human, insulting
long
“Long live the king!” Bernardo
Primary method of identification is political loyalty
there
“Who is there?” Francisco
Maynard Mack, 1952: “Hamlet’s world is pre-eminently in the interrogative mood”»_space;> agreed, b/c the frequency and rather aggressive tone of these short, urgent questions. However… ultimately the question of Elsinore as a whole is answered - it’s too corrupt and must be taken over by Fortinbras.
touching
“Touching this dreaded sight” Bernardo
Synaesthesia- indicates the tension and confusion within the scene
tush
“Tush, tush, ‘twill not appear”
Repeated colloquial ‘tush’ (shush) indicates his easy, almost complacent scepticism
fortified
“your ears / That are so fortified against our story,” Bernardo
‘Fortified’- military/siege imagery, Horatio’s defending his better opinion (shows his scholar characterisation)
beating
“The bell then beating one—” Bernardo
broken iambic pentameter - refects tension,disruption symbolically - the ghost disrupts Denmark
usurp’st
“What art thou that usurp’st this time of night,” Horatio
Usurp: political connotations, refers to ghost ‘usurping’ King Hamlet’s appearance. Could also have reference to Claudius’ usurping - they aren’t aware of this yet but his word choice is ironic.
offended
“It is offended.” Marcellus
Simple sentence- adds comedic effect to an otherwise tense scene
exits
*Ghost exits.
It’s unclear whether the Ghost cannot be heard, or is choosing not to speak. Shakespeare deliberately keeps it ambiguous: later on, only Hamlet hears him, even when Gertrude is in the same room in Act 3 Scene 4.»_space;> Ghosts could not be heard unless spoken to.
answer
“will not answer” Marcellus
Humanising the ghost and giving it power to choose and control the scene
believe
“Before my God, I might not this believe” Horatio
Separates religion and the supernatural - trying to use logos and understand but also believing the existence of the ghost despite rationality
avouch
“Without the sensible and true avouch / Of mine own eyes.” Horatio
Horatio is putting a lot of power in his own sanity whereas the other are less confident, as he’s a scholar he has more belief in his perception than the others
not
“Is it not like the King?” Marcellus
Less confident than Horatio, he is questioning as if he lacks the intelligence to make the convictions and is insecure in his perception of the ghost, although it’s also a lack of belief almost and he’s still loosely denying the ghost by asking
combated
“Such was the very armor he had on / When he the ambitious Norway combated.” Horatio
Masculine imagery of Old Hamlet with armor and in combat»_space; juxtaposes the initial lack of masculinity of the soldiers»_space; sets the scene for later on in the play when Hamlet enters not resembling Old Hamlet
- HOWEVER maybe through power dynamics Old Hamlet or the ghost is presented as more masculine than he actually he is due to his status
strange
“‘tis strange”
Peter Goldman, 2001: “the Ghost hearkens back to the late medieval world of magic and superstition, the Catholic doctrine of Purgatory”
eruption
“This bodies some strange eruption to our state” Horatio
Literal: a volcanic eruption – unpredictable, uncontrollable, destructive, force of nature Metaphorical: abrupt, shocking, violent collapse of… Hamlet’s mental state? The “rotten” “state” of Denmark – the supreme political authority in a given territory
tell
“tell me” Marcellus
imperative verbs, shows he is concerned and wants to be informed
Part A: Marcellus functions as an audience surrogate, requesting exposition about the play’s political situation as a whole.
brazen
“And why such daily cast of brazen cannon” Marcellus
This anticipates modern concerns about the military-industrial complex - every resource spent on war strengthens and damages a country
can
“That can I” Horatio
exposition (backstory), horatio functions as a useful authority
emulate
“pricked on by a most emulate pride,” Horatio
Hamlet - Fortinbras contrast
valiant
“in which our valiant Hamlet”
“His fell to Hamlet” Horatio
When KH won, Fortinbras had to give up the lands he had conquered by contract
young
“So by his father lost. And this, I take it,
Is the main motive of our preparations,
The source of this our watch, and the chief head
Of this posthaste and rummage in the land. “ Horatio
SWITCHES FROM EXPOSITION OF FATHERS TO THE SON IN THE PRESENT - Fortinbras wants to recover WHAT HE VIEWS as his father’s rightful possessions
Three young men trying to get revenge or their just rights?
Julius
“mightiest Julius fell” Horatio
foreshadowing - impending doom via Roman history
enter
*Enter Ghost.
Coleridge, 1818: the play is about the importance of “an equilibrium between the real and the imaginary worlds”
- contrast- nature is at an imbalance with the presence of the ghost. the characters are uncomfortable, nervous.
blast
“blast me.—Stay, illusion!” Horatio
caesura and enjambment indicates alert, sense of panic/stress
speak
“Speak to me.”
imperative phrases repeated to challenge a ghost – an inhuman power, with human speech) – power struggle over the Ghost and perhaps over their own fears
partsian
MARCELLUS
Shall I strike it with my partisan?
HORATIO Do, if it will not stand.
BARNARDO ’Tis here.
HORATIO ’Tis here.
stichomythia, finishing each other’s sentences, secuirty blanket, human pack
summons
“And then it started like a guilty thing / Upon a fearful summons.” Horatio
De-personification of an ambiguous object – the Ghost
nice-looking
when I am no longer as nice-looking as I am now - nor
Nora has a sense of the true nature of her marriage, even as early as Act One. She recognizes that Torvald’s affection for her is heavily dependent on her looks and her more, insightful and manipulative side is displayed. For the first time, readers are aware of how Nora is not always as naive as she seems to be.
