Power and Politics Flashcards
Live {Barnardo}
‘Long live the King’ 1.1.3
It acts as a password, making the lack of trust surrounding the state clear from the offset, as if enemies are lurking everywhere. It appears that Denmark is in need of a true, honest ruler, and so is searching for a King. Ironically, this is just before the ghost of the dead kind arrives, foreshadowing the idea that Claudius isn’t the rightful king, and that the state is full of wrong-doings and betrayal.
Bitter {Francisco}
‘For this relief much thanks. ‘Tis bitter cold and I am sick at heart’ 1.1.8
The plosives create a tense atmosphere, as if the state is under attack, and the pathetic fallacy hints at a potential conflict in the air, further indicating that ‘something is rotten in the state of Denmark’, as if it is corrupt, and that some kind of relief, perhaps the truth, is needed - this foreshadows the revelation of Claudius’ betrayal.
Warlike {Horatio}
‘Fair and warlike form….majesty of buried Denmark’ 1.1.46
While the context of the remark refers to the dead King of Denmark, the synecdoche identifies the fate of its state with that of it’s King - this suggests that the death of Old Hamlet led to the destruction of the state, indicating that it was a foul betrayal, and that the current King is deceptive, with wrongful methods that are reflected in this ‘buried’ state - in a sense this foreshadows Claudius’ own death, as if it’s already determined, and the many deaths to come. It also lays the groundwork for Hamlet as a tragic hero, perhaps one that needs to save the state.
Brow {Claudius}
‘Our whole kingdom to be contracted in one brow of woe’ 1.2.5
This personification and synecdoche used to emphasise the kingdom’s mourning allows Claudius to form a connection with his Court, indicating a good King who cares for his people. His betrayal is therefore perhaps all the more surprising to the audience, highlight the corruption and lack of trust everywhere in Denmark, especially where it is least expected. The King’s deployment of second person pronouns in this speech, including the Royal ‘we’ in his discourse, demonstrate his political skill. By setting himself up to be the ideal King this way, Shakespeare draws on the Italian Renaissance, a big influence in the Elizabethan era, to create a Machiavellian character. One principle of government associated with Machiavellian rulers involved politics being placed above morality, and thus foreshadows the revelation of the King’s betrayal, where he appears to disregard his conscience, choosing his desire to be King above all else.
Jointress {Claudius}
‘Th’ imperial jointress to do this warlike state….our state to be disjoint’ 1.2.8/20
By suggesting that Denmark is ‘disjoint’ by the late King’s death, Claudius portrays himself as the solution, his marriage to Gertrude a ‘Jointress’ that directly juxtaposes with the apparent state of the kingdom. Claudius creates a double meaning, alluding to him both fixing the state,and replacing the previous King - by marrying his predecessor’s wife, he is consolidating his position and setting himself up as the ideal King.
Sister {Claudius}
‘Our sometimes sister, now our Queen’ 1.2.8
This is a clear of indication of Gertrude maintaining her position as Queen throughout the change in ruler, indicating her ability to preserve her power, and perhaps suggesting a cunning nature, similar to Claudius is this aspect - perhaps it is implied that to be in power, a manipulative attitude is required, again indicating a Machiavellian ruler who places politics above morals. However, it may also be alluded that a female can only be in power through the aid of men, as Gertrude’s status is maintained through her marriage to Old Hamlet first, and then to Claudius - this dependence on men portrays the patriarchal society of the Elizabethan era, which places women below men in the chain of command.
Serpent {Ghost}
‘The serpent that sting thy father’s life now wears his crown’ 1.5.39
The sibilance, along with the snake like metaphor, highlights Claudius’ sly and deceptive nature, emphasizing him as a King that is not to be trusted - the biblical imagery of the ‘serpent’ is reminiscent of Satan, directly challenging Claudius’ divine right as a King by placing him against God - this further foreshadows Hamlet’s determination to send Claudius to hell, as if he belongs there.
Rotten {Marcellus}
Foul {Ghost}
‘Something is rotten in the state of Denmark’ 1.4.90
‘Revenge his foul and most unnatural murder’ 1.5.25
The lexical field of death and decay used throughout portray the deceptive misconduct carried out in Denmark, with morals and politics both corrupt - this idea of a ‘foul and unnatural murder’ challenge the King’s divine right, signifying that he is not the natural King and indicating that Claudius should be removed from the throne, with his wrongdoings affecting the whole state. This quote further reveals that a hero is needed, perhaps a true ruler, and the imperative portrays a command that Hamlet can’t refuse, as if Old Hamlet is ultimately the rightful King, laying down the groundwork for the Revenge Tragedy, and the concept of restoring nature to this ‘unnatural’ state.
Of {Ghost}
‘Of life, of crown, of queen, at once dispatched’ 1.5.75
This order of triplets may indicate what Claudius took from Old Hamlet, and this forceful, sinful act, suggests that Claudius has no divine right as a King, simply replacing the true, natural ruler. Alternatively, it may refer to what Old Hamlet valued the most, which may demonstrate him as a bad King, by placing his life above his duty to the kingdom - after all, only Hamlet truly attests that Old Hamlet was a good King, clearly influenced by his bias, whereas Claudius appears to express qualities of an ideal King.
Rogue {Hamlet}
‘O, what a rogue and peasant slave am I’ 2.2.485
This clearly class-based insult suggests that Hamlet’s self loathing is fuelled by the power of the throne, and the divine right of kings, that Claudius holds over him - this demonstrates the importance of status to Hamlet, and perhaps suggest his need for the throne as another motive to kill Claudius, with his inability to carry out the act, and therefore rule over Denmark, playing a role in his self-hatred.
Body {Hamlet}
‘The body is with the King, but the King is not with the body’ 4.2.25
The chiasmus used in Hamlet’s reply regarding Polonius’ body appears to have a double meaning, perhaps implying that the King is not yet with the body in the sense that he is not yet dead - this finalizes his death as inevitable, something that can’t be prevented. Alternatively this may an allusion to the theory of the King’s two bodies, natural and political, whereby Hamlet casts doubt on the legitimacy of this King, implying his kingship, and the divine right, does not reside in his physical body.
Beggar {Hamlet}
‘How a King may go a progress through the guts of a beggar’ 4.3.30
Hamlet juxtaposes a King and a beggar by placing them on the same level, referring to their remains and alluding to death as an equalizer - this further reinforces Claudius as an unnatural King, challenging the concept of his supposed divine right which won’t prevent Hamlet from taking his life. His hidden reference to Claudius’ impending death will end not only the King’s life, but his aspirations of power. It was for the throne that Claudius committed the murder, and by killing him and taking away this status, Hamlet is essentially seeking justice, now convinced he is morally obligated and righteously motivated to take the King’s life.
Cartier {Ophelia}
‘The cartier’s, soldier’s, scholar’s eye, tongue, sword, the expectation and rose of the fair state’ 3.1.150
Ophelia, assuming Hamlet to be mad, lists what she believed him to be before his ‘antic disposition’, giving him attributes of the ideal Renaissance man, further reinforced by his supposed ‘sovereign reason’, which was seen as the ideal ruling characteristic. Even more so, ‘rose’ indicates youth and beauty, and ‘fair state’ juxtaposes directly with the ‘rotten Denmark’ under Claudius’s rule, portraying Hamlet as a better ruler, indicating him as the true heir. This may echo the view of the Elizabethan era, where a great deal of unease was felt in the reformed country, due to uncertainty regarding who would inherit the throne - if applied to the play, Hamlet would have inherited the throne before, and Ophelia’s belief that he should rule may be echoed in the audience of the time, who don’t agree with the reformation.
Grass {Hamlet}
‘While the grass grows - the proverb is something musty’ 3.3.335
Hamlet’s reply to the claim that Claudius has chosen Hamlet as his successor is a reference to the proverb ‘while the grass grows, the steed starves’ suggesting that dreams may be realised too late if one waits too long. This indicates Hamlet’s longing for the throne, and the word ‘musty’ implies a stale situation, perhaps a familiar one, after all, Hamlet had to await the throne while his father was King. His fear that he won’t gain the throne may reflect the unease felt during the Elizabethan era, after the reformation when it was no longer the son who would be heir to the throne for definite - many would have disagreed with this change, and Shakespeare uses this feeling to influence the audience into sympathising and agreeing with Hamlet’s revenge.
Blame {Laertes}
‘The King, the King’s to blame.’ 5.2.305
The second hemistich caesura emphasises the King’s betrayal to the court, with the repetition reinforcing the fault of the King in the big revelation. The end-stop signals no way out for the King, and this final downfall reveals the root of the ‘rotten’ Denmark, with a denouement that indicates the state will be rid of its corruption, and Hamlet’s revenge has succeeded.
