Hamlet Critical Views Flashcards

1
Q

H - Joes

A

‘Hamlet’s interview with his mother… expresses itself in that most physical disgust which is so characteristic of intensely ‘repressed’ sexual feeling’

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2
Q

H - Bradley (duty)

A

‘Hamlet is unable to carry out the sacred duty, imposed by divine authority, of punishing an evil man by death’

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3
Q

H - Van Goethe

A

‘all duties seem holy for Hamlet’

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4
Q

H - Swinburne

A

‘the single characteristic of Hamlet’s innermost nature is by no means irresolution or hesitation but rather the strong conflux of contending forces’

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5
Q

H - Johnson

A

‘Hamlet is… rather an instrument than an agent’

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6
Q

H - Knight

A

‘he is in fact the poison in the veins of the community’

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7
Q

H - Bradley (thought)

A

‘tragedy of thought’

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8
Q

H - Bradley (intellect)

A

‘is connected with intellectual nature rather than with any yielding passion’

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9
Q

H - Showalter (womanish)

A

‘Ophelia is deprived of thought, sexuality and language… she represents the strong emotions that the Elizabethans thought womanish’

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10
Q

H - Goldman

A

‘the Ghost has brought purgatory into the real world as Hamlet can’t rest until he’s taken revenge’

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11
Q

H - Campbell and Quinn

A

‘Hamlet is no Pagan avenger of Icelandic saga, but a Christian Elizabethan who adopted the current confused beliefs of his age about ghosts’

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12
Q

H - Showalter (madness)

A

‘representational bonds between female insanity and female sexuality’

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13
Q

H - Smith (corruption)

A

‘Polonius seems to love his children; he seems to have the welfare of the kingdom in mind. His means of action, however, are totally corrupt’

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14
Q

H - Smith (bait)

A

‘trained his daughter to be obedient and chaste and is able to use her as a piece of bait for spying’

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15
Q

H - Graf

A

‘is in fact protecting her son from the man who murdered her husband’

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16
Q

H - Mabillard

A

‘it is her sexuality that turns Hamlet so violently against her’

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17
Q

H - Jones

A

‘Hamlet has a deeper loathing for Claudius’ incest with the Queen then the murder of his own father’

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18
Q

H - Muir

A

‘a sense of infection surrounds both Claudius’ crime and guilt in Gertrude’s sin’

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19
Q

H - Altick

A

‘the cunning and lecherousness of Claudius’ evil has corrupted the whole kingdom of Denmark’

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20
Q

H - Watson

A

‘the sense of honour, the desire for virtue, is then deeply implanted in the soul of the Renaissance gentleman’

21
Q

Purgatory - American Heritage Dictionary

A

‘a state in which the souls of those who have died in grace must expiate their sins’

22
Q

H - Matheson

A

‘for him it carries the residual force of a religious obligation’

23
Q

H - Bradley (fate)

A

‘believes in the existence of a divine order, but at the same time feels himself to be caught in a web of fate over which he has no control’

24
Q

H - Todd

A

‘he is an impulsive man of action’

25
H - Hazlitt
'his ruling passion is to think not to act'
26
H - Bluer
'Hamlet intellectualises his revenge, knowing to would be wrong to commit cold-blooded murder and lower himself to the moral level of Claudius'
27
H - Macrae
'Hamlet's revenge is pure revenge. Fortinbras' is militaristic, strong-arm revenge. Laertes' is a corrupt and poisoned revenge'
28
H - Schofield
'He has the persuasiveness and physical courage of a ruler, but is morally empty'
29
H - Eliot
'the Mona Lisa of literature'
30
Hamlet feminist criticism - Jardine (1996)
Questions the 'play's burden of guilt' which is often placed on Gertrude by other critics instead of Hamlet
31
Hamlet feminist criticism - Charney and Charney (1977)
Argues Ophelia's madness 'enables her to assert her being', freeing her from duty and expectations
32
Hamlet feminist criticism - Massai (2018)
Describes the play as 'fiercely misogynistic'. Notes Gertrude's compassion for Ophelia and how, in context of royal families, her marriage to Claudius is justifiable. Also women are unable to represent themselves, speaking 4% of lines each in the play
33
Hamlet feminist criticism - Lenerenz (1978)
Described Ophelia as a used and exploited character which leads to her madness
34
What is Marxist literary theory?
The examination of how people are conditioned by socio-economic conditions and class struggles - how power is treated in a text
35
Hamlet Marxist theory - Eagleton
Hamlet is 'unable to find self-definition' and is resistant to play the roles that society expects of him
36
Hamlet Marxist theory - Holderness
The play dramatises fundamental changes in Elizabethan society, with Claudius as the new vision of statemanship
37
The character of Hamlet from a Marxist view - Holderness
'stranded between the two worlds'
38
Hamlet can't be chivalrous - Holderness
'unable to emulate the heroic values of his father'
39
Hamlet can't be diplomatic - Holderness
'unable to engage with the modern world of political diplomacy'
40
Hamlet Marxist theory - Shapiro
Tension results from the old forces of chivalry giving wat to Protestantism and capitalism
41
What is a psychoanalytical interpretation of Hamlet's relationship with Gertrude?
Gertrude and Hamlet's Oedipal feelings for her is the reason for his psychological torment, inability to act and failed relationship with Ophelia
42
What is a psychoanalytical interpretation of Hamlet's relationship with Claudius?
Hamlet has a subconscious sense of affinity with Claudius as he fulfilled his repressed desire of killing Old Hamlet and marrying Gertrude - sense of gratitude?
43
What is the Madonna/Whore dichotomy?
The idea that women are either totally pure and chaste or promiscuous and sinful with no inbetween - polarising
44
How may Hamlet express the Madonna/Whore dichotomy?
Gertrude's marriage taints Hamlet's perception of all women - especially Ophelia
45
What does Freud argue about Hamlet's nature?
He shows little affectation of conscience in killing Polonius and R+G which suggests his inaction toward Claudius and Gertrude has deeper psychological roots
46
H - Ghose
'Hamlet's life is filled with many identities'
47
H - Mack
'the play within the play tends to dissolve the normal barriers between the fictive and the real'
48
H - Charles
'no one in the play knows or understands anyone else'