Hamlett

Question 1

“Kam about his father: ““So ____ a ___ “””

Answer 1

____ excellent ___ king

Question 2

Name

Answer 2

explanation

Question 3

{{c1::’winds of heaven …}} {{c2::Visit her [Gertrude’s] face to roughly’}}

Answer 3

The nature of King Ham - change from this noble honoury compassion to Claud’s politics

Question 4

{{c1::◦ ‘Hyperion}} {{c2::to a satyr’}}

Answer 4

The change from one leader to another - juxtaposition - classical hierarchy - lechery/alcoholism of Satyrs

Question 5

◦ Horatio: {{c1::’A was a goodly king’}} Ham: {{c2::’A was a man’}}

Answer 5

The two sides of The old king.<br></br>- Shows extent of Ham’s idolisation of his father

Question 6

Hamlet: ‘This heavy headed {{c1::revel east and west}} / Makes us traduc’d,, and {{c2::tax’d of other nations’}} ({{c3::act 1 scene 4}})

Answer 6

The effect of The revelling of Claudius on The diplomatic relations between Denmark and its surrounding countries<br></br>-Alliteration: ‘h’ ‘t’

Question 7

◦ ‘unweeded garden’

Answer 7

Link to Eden<br></br>- Natural imagery

Question 8

◦ ‘{{c2::sleeping in my orchard}}, / {{c1::A serpent stung me’}} (act 1 scene 4)

Answer 8

Eden<br></br>- Pre-Lapsarian time of The reign of King_Ham - decay of this time<br></br>- Claudius as likened to devil<br></br>- Sibilance<br></br>- Link to The classical time of The Golden Age and The decay of this into The present<br></br>- The present as a decayed world - classical idea

Question 9

◦ ‘fair and {{c1::warlike form}} / In which the majesty of {{c2::buried Denmark}} / Did sometimes march’ ({{c3::act 1 scene 1}})

Answer 9

King_Ham as a warrior fighting to maintain The soverignity of his country<br></br>- Only ‘sometimes‘ - possibly less clear<br></br>- Comparison with Claud who uses politics/spies/diplomacy etc to maintain control<br></br>- Imperialist reading of The reign of King_Ham

Question 10

• ‘Though yet of Hamlet {{c1::our dear brother’s death}}{{c2::act 1 scene 2}}’

Answer 10

Alliteration amplifies ‘death’<br></br>- Repetition of ‘our’<br></br>- The ‘royal we’<br></br>- Political appearance portrayed by Claudius here

Question 11

• ‘{{c3::and our whole kingdom}} to be contracted in {{c2::one brow of woe}}’ (a{{c1::ct 1 scene 2}})

Answer 11

Creation of image of universality and communal suffering across The nation<br></br>- Political speech<br></br>- appearance - The significance of this to Claudius

Question 12

The metre of the lines of Claud - comparison to Hamlet (geeky shit)

Answer 12

• use of blank verse with very few substitutions implying the highly considered and uncandid nature of his words, as opposed to those of Hamlet’s soliloquies that, although also written in blank verse, contain many substitutions such as the trochee ‘Thaw and’ starting the second line of the ‘Too too solid flesh’ speech emphasising the disjointedness of Hamlet’s character because of the depth of emotion he is undergoing

Question 13

“◦ “”{{c2::The time is out of joint}} / {{c1::O cursed spite that ever I was born to set it right}}”” ({{c3::act 1 scene 5}})”

Answer 13

▪ extended carpentry metaphor – God designed and crearted universe – here linked to the role of the revenge hero – cultural expectation

Question 14

”"”cast thy {{c1::nighted colour off,}} / And let thine {{c2::eye look like a friend on Denmark}}””. ({{c3::act 1 scene 2}})”

Answer 14

Formality of thine<br></br>- Shows The extent of Ham’s mourning<br></br>- ‘Denmark’ - The country or The man - her loyalty to Claudius<br></br>- She is asking her son to not mourn her previous husband<br></br>- loyalties ambiguous: does She want Ham to not live his life miserable<br></br>- is Gert trying to do best for her and Ham

Question 15

Hamlet: How strange or odd {{c1::some’er I bear myself}} (As I perchance hereafter s{{c2::hall think meet To put an antic disposition on}}) ({{c3::act 1 scene 5}})

Answer 15

Hamlet is saying that if in the future he finds it necessary tobehave as if mad(to adopt an “antic disposition”), they should not inany way, by word or gesture, reveal that they know something of the reason for and meaning of this behaviour.<br></br><br></br>Within this ‘antic disposition’ lies what some view as the psychological crux of the play: does Hamlet, in the process of maintaining this facade, eventually go mad himself? <br></br><br></br>the fact Hamlet states this in the first place could suggest that he has made some form of decision in the direction of killing Claudius, as he may find it necessary to create an alibi

Question 16

I am but {{c1::mad north-north-west.}} When the wind is southerly, {{c2::I know a hawk from a handsaw.}} ({{c3::act 2 scene 2}})

Answer 16

Hamlet implies that he is not completely mad, but that his madness is like a compass needle at an angle to true north. He himself may have an “angle” (may be pretending–or as he says earlier, putting on an “antic disposition”–for his own purposes). Or he may be a little mad but lucid when it comes to the most important things. We would use the expression “crazy like a fox” in the same context.<br></br>In Denmark, the wind typically blows in the southeast direction. If “north-north west” connects to the “wind” metaphor, it implies that he is rarely insane.<br></br><br></br>A possible reference to the fact that Hamlet alone knows about the illegitimacy of the new king.<br></br>“The wind” might be a metaphor for popular opinion, criticizedhttps://genius.com/5766014in reference to the new style of theater that displaced the tragedians. This is the faddish opinion that suddenly regarded Claudius’ portraits as worth paying for. To the extent that the wind’s blowingthatway, Hamlet is crazy. When it turns around, though, he knows the difference between the true king and the fraud on the throne.<br></br>http://books.google.com/books/about/The_Riverside_Shakespeare.html?id=udkmAQAAMAAJon “hawk” and “handsaw”:Both cutting-tools; but also both birds, ifhand-sawquibbles onhttp://dictionary.reference.com/browse/hernshawhttp://dictionary.reference.com/browse/hernshaw“heron,” a bird preyed upon by the hawk.<br></br>Hawk swooping on heron:https://www.youtube.com/watch?v=8MAgUK2P2H4<br></br>A hawk is not a cutting tool. It is the hand held board that a mason holds cement on or a plasterer holds plaster on.<br></br>If this latter is true, thenhawkandhandsaware instrumental to effectively opposite end. A hawk is used in joining; a handsaw in separating.

Question 17

Her speech is nothing, Yet the unshapèd use of it {{c1::doth move The hearers to collection.}} They aim at it and {{c2::botch the words up fit}} to their own thoughts; Which, as her winks and nods and gestures yield them, {{c3::Indeed would make one think there might be thought,}} Though nothing sure, {{c4::yet much unhappily}} ({{c5::act 4 scene 5}})

Answer 17

The Gentleman reports that although Ophelia’s speech is nonsensical (“nothing”), its “unshaped” strangeness and her expressive “winks, and nods, and gestures” lead her hearers to try to find “thought” and meaning in it. He suggests that they’re only projecting their own ideas onto her babbling (“botch[ing] the words up fit to their own thoughts”), and that while itmightcontain some sense, nothing’s certain about it except that it expresses deep unhappiness.<br></br><br></br>Later in the scene Laertes declares,https://genius.com/6471239–i.e., this so-called nonsense expresses more than sense. Centuries of critics have agreed, arguing that Ophelia’s speeches in this scene offer tantalizing clues to her psychology and relationships with Polonius and Hamlet. The Gentleman’s hedged judgment may well be a Shakespearean tease or warning to audiences who seek meaning in Ophelia’s “madness”–we can never decipher it completely, or be sure that we’re not just interpreting it according to our own biases.

Question 18

Therefore, since {{c1::brevity is the soul of wit,}}<br></br>And tediousness {{c2::the limbs and outward flourishes,}}<br></br>I will be brief. ({{c3::act 2 scene 2}})

Answer 18

After completing his diplomatic relations with Claudius and Gertrude, Polonius begins to speak about Hamlet’s madness. He introduces the speech with this construction that cherishes and promises concise language.<br></br><br></br>The phrase “brevity is the soul of wit” is another example of how Shakespeare will invert sentence structures for emphatic and rhetorical effect. Most simply this means, “it is important to be brief in order to be witty”—but Polonius instead makes “brevity” a central, constitutive aspect of “wit,” as opposed to a common feature. Just as Hamlet called women the name of frailty, here Polonius has rendered brevity to be wit’s soul. “Tediousness,” on the other hand, is associated with the external parts of the body—the material that is superficial and extraneous. Polonius uses this phrase to justify and introduce his “brief” speech.<br></br><br></br>As with many of Polonius’s statements, however, these lines are deeply ironic. Polonius is always a verbose character, and this speech is particularly rambling: he discourses extensive about the nature of Hamlet’s madness without making any particularly useful or incisive contributions. These lines themselves serve to elongate the position—adding “an outward flourish” in the very act of denouncing such a gesture. The audience should note, furthermore, that Polonius is not interested in “truth” per say, but rather just “wit”—which itself a type of “outward flourish.” On the simplest level, this irony further undermines Polonius’s character, presenting him ever more as an unaware fool. But it also offers a broader comment on how people’s promises and intentions often differ from their actions: One may claim brevity to be the soul of wit while failing to be either brief or witty.

Question 19

speak, {{c1::I am bound to hear}} ({{c2::act 1 scene 5}})

Answer 19

Hamlet is not only “bound to hear” but obligated by his father’s will to exact revenge. Or is he bound by some deeper rule of justice?<br></br>The Arden Shakespearehttp://tinyurl.com/pgop884two possible meanings forbound: “(1) destined, (2) committed, obliged.”<br></br><br></br>Hamlet recognises some sense of destiny, reflecting his later comments, suggesting his opinion of free will changes less than one may summise.

Question 20

there’s {{c1::a divinity that shapes our ends}}, {{c2::rough hew them how you will}} ({{c3::act 5 scene 2}})

Answer 20

“The”“vehicle”” of the metaphor is worth our attention. It comes from carpentry, where the worker hews a beam or post with an ax and then shapes it with an adze. So does our free will help to determine the rough outline of our fates, but it is divinity that gives our lives their final shapes.<br></br><br></br>Given that we know Hamlet is a character in a play, and therefore subject to the will of the author, there is a sort ofhttps://genius.com/4705837<br></br>here.<br></br><br></br>Yet, as these lines indicate, Hamlet is largely aware of his situation, which gets at what may be the central issue of the play: how do we respond to our ultimate inability to control our fates?”

Question 21

{{c1::Our wills and fates}} do so contrary run {{c2::that our devices still are overthrow}} (act 5 scene 2)

Answer 21

a recognition of some form of wiill, and if written by Hamlet this reflects his own opinion. However, it is the lack of ability to enact or will, as it often goes against what our fate dictates<br></br><br></br>Whose nature is mirrored here, Hamlet’s or humankind’s? Do all of us will against our own characters/fates, so that our designs are always thwarted? If character is fate, so that there are no accidents, then our desires do not matter. Freud thought it was all over before our first birthday; Hamlet seems to give us even less freedom from overdetermination. If everything that ever will happens to you is only a mirror of your own character, than holding the mirror up to nature becomes rather a dark activity: all of us are the follow of time, victims of an unfolding we cannot affect. I do not think that this is Shakespeare’s own vision, nor will it be Hamlet’s, in Act V, yet it is evidently Hamlet’s ground of despair in the life he has endured before his return from the sea.

Question 22

Not a whit, we {{c1::defy augury}}: there is special providence in {{c2::the fall of a sparrow.}} If it be now, {{c3::’tis not to come;}} if it be not to come, {{c3::it will be now;}} if it be not now, {{c3::yet it will come - the readiness is all}}. Since no man of aught he leaves knows, {{c4::what is’t to leave betimes? Let be}} (act 5 scene 2)

Answer 22

“• Augury is {{c1::the art of reading objects (such as tea leaves) to predict the future.}}<br></br>• Shakespeare’s audience believed that Providence {{c1::manifested itself in special instances,}} like the Biblical example of the {{c2::sparrow falling,}} as well as {{c2::across the whole of God’s creation}}.<br></br>• Hamlet is expressing a {{c4::Stoic indifference to Fortune}}, such as he praises in Horatio earlier in the play: Since no one has any understanding of what they leave behind them when they die, {{c4::what does it matter if they die early?}}<br></br>• The Hamlet of this Act is {{c3::different than in Acts previous.}} He’s not pushing to {{c3::accomplish his revenge}}, or {{c3::fretting about it not being done}}.<br></br><br></br>Here, Hamlet echoes the Gospel according to St. Matthew, chapter 10: ““And fear not them which kill the body, but are not able to kill the soul: but rather fear him which is able to destroy both soul and body in hell./ Are not two sparrows sold for a farthing? and one of them shall not fall on the ground without your Father”” (King James version).”

Question 23

‘Let no the {{c1::royal bed of Denmark}} be a / A couch for {{c2::luxury and damnèd incest}}’ ({{c3::act 1}} {{c4::scene 5 )}}

Answer 23

internal rhyme

Question 24

Claud: ‘Is there not {{c1::rain enough in the sweet heavens}} / To wash it {{c2::white as snow}}?’ ({{c3::act 3 scene 3}})

Answer 24

link to winds of heaven - inversion of earlier line<br></br>- rhetorical question

Question 25

“Hamlet: “”“Frailty, {{c1::thy name is woman!””}} ({{c2::act 1 , scene 2}})”

Answer 25

In this famous passage, Hamlet laments that within a month after his father’s death, his mother Gertrude has married his uncle Claudius (he exclaims that the shoes she wore to his funeral are not even old). He places blame on the inherent character of women.<br></br>This misogynistic opposition between supposed male stoicism and female foolishness or frailty is repeated in various contexts throughout the play. <br></br><br></br>This shows the extent of Hamlet’s anger, he extrapolates the anger he feels to one singular woman onto an entire gender

Question 26

Hamlet: It is but foolery; {{c1::but it is such a kind of Gain-giving, as would perhaps trouble a woman.}}({{c2::Act 5 scene 2}} )

Answer 26

gain-giving: misgiving.<br></br>This misogynistic opposition between supposed martial virtue and female foolishness or frailty is repeated in various contexts throughout the play.

Question 27

Polonius: This above all: {{c1::to thine own self be true, and it must follow,}} as the night the day{{c2::,Thou canst not then be false to any man.}} ({{c3::act 1 scene 3}}{{c4::}})

Answer 27

If you can be true to your goals, fears, ambitions, emotions, words–yourself–you’ll have no trouble being equally honest with other people.<br></br><br></br>The advice is eloquently phrased, and there’s no direct evidence that we’re meant to interpret it as bad or mistaken. YetHamlet<br></br>, and Hamlet, forces us constantly to question the gap between “being” and “seeming,” the distinction between authenticity and role-playing, and the nature of identity itself.<br></br><br></br>For example, there is arguably a certain integrity to the “antic” persona Hamlet adopts, since it liberates him to speak uncomfortable truths. At the very least, the play suggests that “being true to oneself” is not as straightforward a concept as it seems.<br></br><br></br>Note also that in many ways, Hamletcan’t<br></br>follow this advice. He is compelled to be false not only in relation to Claudius, but also, as Laertes spells out earlier in the scene, in his relationship with Ophelia. Regardless of whom he loves, as prince, Hamlet is not free<br></br><br></br>Hamlet and Laertes’ opposite relations to this principle of self-honesty culminates in their radically different approaches to revenge.

Question 28

“Polonius: {{c1::”“Though this be madness,}} {{c2::yet there is method in’t.”}} {{c3::(Act two, scene two)}}”

Answer 28

This line is the first indication that Polonius is at all suspicious that Hamlet is being deliberately antagonistic. Still, he doesn’t seem to fully understand how he’s being played here, and continues to be as patient as possible in the face of what he considers to be erratic behavior.<br></br><br></br>perhaps polonius is not as erratic nor as foolish as he is made out to be.