Hamlet

randomfella

could someone put something together and post it on the theme of revenge? i really think this a likely theme, im gonna learn imagery aswel. i will post stuff on that later.

the smiley one

Waltons wrote:

There's something to be said about Hamlet's view of religion in there as well. If Hamlet believes that he can't kill Claudius in the church while praying because he'll go to heaven, that says a lot about not only how much he wants revenge but that he doesn't trust in God/Religion enough to punish Claudius justly for his sins.

yes, but you have to take it in context of the times - people believed that if someone died after saying their prayers and asking for forgiveness, they would go directly to heaven, regardless of the crimes committed throughout their lives (technically, even if you are a crazed mass-murderer and you pray for forgiveness you will go to heaven, and not even through purgatory), so Halmet believes he will send him directly to heaven if he kills him while he is prying (the church bit doesn't really have anything to do with it...for effect methinks...). Hamlet doesn't so much question his faith, as morality as a whole....actually I don't think the teachings of the church came into it at all.. (also at the time if Shakespeare had implied the church's teachings were inaccurate he wouldn't have been allowed to write at all - as it was, it was most likely he was a closst Catholic)
AFAIK anyway...

Waltons

Yeah, I suppose you're right. Still a very good example to use for his revenge anyway. As for implying the church's teachings were inaccurate, I don't really think that's implied but there's a subtle hint towards abortion when Ophelia is talking to Laertes and giving him flowers.

"There's rue for you, and here's some for me"

Ruda:, (rue, Ruta graveolens): highly regarded for its abilities to induce menstruation, and to abort fetuses; in too high concentrations, it is exceedingly poisonous.

You're right about the church though. I was thinking more in modern terms rather than back in the time the play was set.

Johnerr

randomfella wrote:

really don't think an essay on fortinbras is likely. Maybe they could combine him with somebody. He really doesn't warrant more than 1 or 2 paragraph.

Not expecting an essay on him, Just wanted to know his importance in the play and if i need to slip him into my anwser I will know where to place him.

Cherry_Pie

Just to lighten things a bit did any of you catch that the nunnery in Elizibethean times was what they called a brothel!!! Hamlet was basically trashing Ophelia and telling her to go be a whore in a whores environment!

Also, when thinking of Claudius think of Bill CLinton! Charasmatic, Good leader and a dab hand with the ladies.....

Ok do continue on a more serious note!

randomfella

*Death *

(1) To a greater or lesser extend death is a theme common to all Shakespeare’s tragedies.

(2) Of the eleven main characters in Hamlet only Horatio survives.

(3) Death doesn’t discriminate – spares neither the innocent “Ophelia” nor the guilt “Claudius”.

(4) Horatio sums up the main events as a catalogue of killings.

(5) A main reason for the theme of death is Hamlets chief focus is death. He is preoccupied with death.

(6) To account for his concerns with death you have to take into account the circumstance he finds himself in at the start – His admirable and beloved father has just died.

(7) This death (even before he learns the true nature if it) has changed his world forever, causing him to think about his own death and suicide.

(8) The apparition of the ghost expands on the significance of the death theme.

(9) Here his father dramatises the experience of being dead. He also give Hamlet a strong motive to kill Claudius.

(10) Hamlet views death in many ways:

- Since he is melancholy he can regard death as a relief from the sorrows of life.
- He also views death with relish as bodies of enemies decay after death.
- He is preoccupied with the triumph of death over aspects of human life he has come to despise. He castigates female vanity and the corruption of female beauty and his meditation on Yorick’s skull lets him show the ultimate end of beauty - not aware Ophelia is dead the speech is very ironic.
(11) The Graveyard scene provides a moving commentary on death. It illustrate that the grave and death mock social status, wealth and achievement. The gravediggers are playing with skulls and bone – to which hamlet remarks at some fine persons expense.

(12) The greatest Kings are no more exempt from the humiliation of death than lawyers are.

(13) The theme of death is central to one of the finest imaginative effects of the play. When Hamlet finds out that the grave digger has been practicing since “the very day that young hamlet was born” there is a sense of irony that the same gravedigger will likely dig Hamlets grave thirty years on. This is emphasised by the arrival of Ophelia’s funeral procession at which two of the main mourners are, as the audience knows, planning to end Hamlets life.

randomfella

*Appearance and Reality*

(1) Major theme of play is the relation of appearance to reality.

(2) The characters can never be sure that things are, as they seem. The uncertainty of the outward appearance of the ghost becomes a problem for Hamlet as he hears the revelations.

(3) At first light of these revelations it would seem that the ghost is showing him the grim reality behind his uncle’s court. However on reflection Hamlet is faced with the possibility that the ghost may have been the devil assuming his fathers shape in order to bring the downfall of Hamlet himself.

(4) If this is true, the outward appearance of Claudius would be true to his character and the allegations would have no support. He is forced to test the Ghosts word in the play scene.

(5) Having found confirmation of Claudius’s guilt, he set out to kill him in the prayer scene. However this scene provides an ironic comment on the relation of appearance to reality. Claudius is praying – Hamlet thinks if he was to kill him then he would send him to heaven and not hell as he wants – thus not fully grasping the reality behind the outward show.

(6) The theme of appearance versus reality is kept in our minds by various groups of interconnected images. Three patterns are memorable – clothing, acting and painting. These are used to suggest deliberate concealment of facts.

(7) Polonius tell Laertes that “apparel oft proclaims the man” even though he knows this to be untrue. He then sends Reynaldo to Paris to spy on his son instructing him to dissemble if he has to. His own death occurs through concealment in Gertrude’s room – the arras is a visual symbol of disguise used as a masking device in the play.

(8) Striking instance of appearance/reality is when Claudius is in prayer in the prayer scene. We have a rare glimpse of the inner working of the mind of Claudius. We see him struggle with the inner turmoil, which is cause by his hidden crime. He knows he has committed one of the worst crimes – but also knows even the greatest offences can be forgiven – but forgiveness is too great a challenge – he would have to give up his crown for this to happen (fruits of his crime). He is unable to repent. The more he struggles with the guilt the more he feels trapped. The audience see both the reality and appearance in this scene however Hamlet, seeing his uncle in prayer believes him to at peace with himself. Unlike the audience Hamlet believes that appearance and reality are one – thus deferring his revenge.

(9) Conflict of appearance to reality is central to the presentation of Hamlet. It becomes very important when he decides to play the role of a madman – assuming what he calls “an antic disposition”. If we are to believe Hamlet at face value it is to disguise his true feelings and intentions. This surprises us as Hamlet up to this point has stood up of the truth, to embody the perfect equation of appearance equalling reality. Now a few scenes later he is ready to the same techniques he has so far deplored in his uncle and mother.

(10) There are various ways of looking at Hamlets “antic disposition”. One is too use it as a weapon against his uncle – this is way he assumed it in the first place. Maybe it could be a legacy from Shakespeare play in which a person adopts a guise of a madman to allay suspicions of his enemies and plot revenge. However this strategy doesn’t work with Claudius as it only makes him extremely suspicious.

(11) Another odd feature of this strategy is that after Hamlet decides to use it he does not seem particularly concerned whether or not Claudius sees through it. Hamlet knows he is being spied on and all his doing will be reported back to Claudius, yet tells the spies (Rosencrantz and Guildenstern) that his is only mad occasionally.

randomfella

*Hamlet*

(1) Recently a marked decline in sympathy for Hamlet. After centuries of admiration and adoration, Hamlet now is being called the villain not he hero by critics. Many seeing the main character in Hamlet as being Claudius with Hamlet, as his nephew who hampers all his attempts to govern well.

(2) Hamlet himself provides some unfavourable commentary on his own character in the nunnery scene. In a way compounding what the worst things critic could say about him.

(3) The play itself provides us with a great deal of material to base similar views on hamlet and to justify Hamlets own views on himself. Many of those who see Hamlet’s gross faults, his callous cruelty and cynical nature, tend to see Claudius as a well-disposed, kindly uncle and competent leader, who tries all he can to care for his nephew only to have all his efforts rejected.

(4) Even those who sympathise with Hamlet will admit some disturbing features in his character, outlook and behaviour offset his virtues. Readers will all notice the bitterness, cynicism and hatred, which affects all off his dealings.

(5) His mental torture of his mother and Ophelia shows just how cruel he can be. He relishes tormenting his uncle in the play scene and when upon finding him at prayer, Hamlet takes delight in the prospect of keeping his uncle for a more horrible fate.

(6) He sends his old school mates Rosencrantz and Guildenstern to their deaths without letting them make peace with god and refuses to take moral responsibility for this.

(7) He shows his less attractive side in his interview with his mother – he characterises Gertrude marriage to Claudius – using repulsive imagery with bestial overtone. He is obsessed with lust and the corruption of human relationships – many say he is being hysterical and violent here.

(8) Hamlet shows these undesirable qualities again in his treatment of Polonius – a cynical, low-minded and corrupt character – When he kills him in mistake for Claudius, Hamlets reacts to this violent death in a way that does him little credit. He treats his death victim as though he is no more than an animal as he treats Claudius.

(9) However all features of Hamlet need to be emphasised in any account of Hamlet. He also displays a different character to those he loves and respects. This is shown by Horatio’s heartfelt epitaph. This is the Hamlet who forgives Laertes which his dying breath, prevent Horatios suicide, shows concern for his friends – whom he treats with admirable frankness and courtesy- and inspires the devotion and loyalty of Horatio the character who knows him best.

(10) We also must remember his moving devotion to his father, his fundamental idealism - though warped by the pressure of circumstance – his refined sensibility, good sense and taste, displayed in his reflections on drama and acting.

randomfella

*Hamlet*
- Idealism turn to cynicism –

(1) Hamlets tragic experience can only be understood by taking the two sides of his nature into account.

(2) His tragedy is that of a noble, idealistic young man whose greatness of mind and soul is overwhelmed by circumstances of catastrophic events and perverted to cynicism, grossness and cruelty. Much of hamlets bitterness and cynicism towards women in general, can be understood in the terms that essentially the emotion of the play is the feeling of a son towards a guilty mother.

(3) The main object of the Ghosts appearance to Hamlet is to incite him against his uncle and this is what Hamlet seems determined to do after the apparition.

(4) However Hamlet is equally concerned with his mother’s betrayal of his father trust and her incestuous relationship with his uncle as he is concerned with the actual crime that his uncle committed.

(5) The Ghosts revelation that the incestuous relationship between his brother and wife was going on before he died taints Hamlets mind against women in general and in particular women’s virtue and love. This repulsion of the idea of love and marriage is shown in his interview with Ophelia. When a woman of such stature as Gertrude would betray here virtue is there any hope for a marriage to last anywhere else?

(6) Hamlets critics however have stated that he hysterically exaggerated the failing of others, especially his mother. They have found fault with him for despising and rejecting every value by which his society lives. Because (as they see it) he found his own existence futile, all others most also be futile.

(7) His severe anti-feminism, his observations on the emptiness of life and felicity of death have been found to be negative and disturbing.

(8) Some would say that Hamlet is neurotic as he is dominated by an emotion, which is in excess of the facts. His extreme disgust at his mother is not justified. Is his revulsion of life sufficiently accounted for by what happens to him? If not we must conclude that he is detached from reality, a victim of delusions and hating people for no convincing reason.

(9) But a consideration of the facts should dispel this notion of Hamlet being neurotic. His emotions – world weariness, his occasional hysteria, outbursts of hatred and his tainted view of women- must be understood in light of his circumstances.

(10) These are:
- He has suffered the death of his beloved, adored father.
- Followed by the incestuous marriage of his mother to his hated uncle.
- Losing the throne that is rightfully his.
- Followed by the Ghosts revelation that Claudius murdered him and off the adulteress, incestuous affair of his mother to Claudius.
- The burden of the Ghost demanding that Hamlet take speedy vengeance on his uncle – the despicable blackguard.

* In face of all this what emotion from Hamlet could be regarded as excessive?

randomfella

*Gertrude*

(1) Shakespeare’s presentation of Gertrude has never attracted much favourable comment. Her great purpose in life or so it seems is to avoid trouble at any cost. It is to preserve herself from any disturbance of the smooth running of her life.

(2) Her early request to Hamlet to cast of his morning clothes and look on Claudius as a friend is typical of her general character.

(3) Certain vagueness surrounds her past conduct and as a result her current state of mind. The main point at issue here is the extent she had to play in the crime committed by Claudius and their relations ship before King Hamlet’s death.

(4) The ghost describes Claudius as “that incestuous, that adulterate beast” who won Gertrude to “his shameful lust”. However Claudius in his great soliloquy only ever admits to “a brother’s murder” but to noting else.

(5) Gertrude nowhere admits adultery or to having anything to do with the murder. However in an aside she suggest that she may have something to answer for.







(6) What is her sin?
- The queen of Dumb-show is nether conniving of murder or adultery.
- When in the closet scene she describes the killing of Polonius as a bloody dead Hamlet goes one further that his father in what he thinks his mother has done.
- The tone of astonishment in her reply “As kill a king” would seem to exonerate her from the murder. Hamlets following anger would seem to originate from his disgust of her hasty marriage to the inferior Claudius.

(7) As to her relationship with Claudius, the evidence seems to leave only two possibilities – that she was unfaithful to her husband while he was alive or she only has been unfaithful to his memory.

(8) While it may be thought that Shakespeare lacked interest in Gertrude’s personality throughout the play, it can’t be said that her ‘sin’- whatever the real nature is – dominates Hamlets attitude to life for much of the play.

(9) Some of Hamlet most powerful speeches are inspired by disgust that what he thinks his mother has done, despite being told by the Ghost to ‘leave her to heaven’.

(10) This disgust of Gertrude taints and corrupts Hamlets relationship with Ophelia and colours his view of woman in general.

(11) It seems that Hamlet is obsessed with both adultery and incest. Some would say his outbursts against Gertrude are both embarrassing and exaggerated, suggesting symptoms of a deep-seated neurosis.



(12) There is much evidence to say that Hamlet is overwhelmed by his mother’s remarriage. He seems despaired at her disloyalty even before he has yet to hear the Ghosts revelations.

(13) There is also evidence to say that Hamlets heated words in the closet scene awaking feelings of guilt in Gertrude, making her conscious of her wrong doings in relation to position with Claudius and her past reputation. Her pleadings with Hamlet convey this. Later we hear her telling references to her ‘sick soul’ and to ‘sins true nature’.

(14) We cannot use Gertrude’s sensitive speech on Ophelia death as evidence of the ‘new’ Gertrude as Shakespeare often used characters as commentators on events, not meaning it to be a reflection of there own character.

randomfella

*Polonius*

(1) There is a strong temptation to cast Polonius as a foolish old man, the comic victim of Hamlets wit, even as a buffoon. All these aspects have foundation in the play and can be easy illustrated.

(2) Hamlet sees Polonius as one of ‘those tedious old fools’ and as ‘that great baby …not yet out of his swaddling clothes’.

(3) There is also the strangeness of his speeches and thoughts: the long windedness, the impressive opening that meander into absurdity.

(4) He easily makes people laugh and sees himself as a sage of sorts – if an absent-minded one.

(5) He reminds of another one of his abilities, to detect the truth.

(6) He gets three character references in the course of the play. One is sought – Claudius who describes him as ‘a man faithful and honourable’ – two however are unsolicited – Claudius declares that the throne of Denmark is his and Gertrude calls him ’the unseen good old man’.

(7) These statements contradict Hamlets view of Polonius as a ‘wretched, rash, intruding fool’.





(8) This view of Polonius is accurate to a degree however the ‘popular’ perception of his character does not take into account the darker and more sinister side of his nature.

(9) Only Polonius’s outward character can be said to be attractive as it allows certain luxuries for his eccentricities. But beneath that mask lurks a treacherous plotter with a seriously retarded moral sense.

(10) In this respect he resembles Claudius. He trusts his children so little that he spies one himself while setting a spy on the other one: dying a spy in the queens apartment.

(11) He sees fellow human beings as mere puppets and has no regard for there privacy. He pries into others lives without apology or embarrassment.

(12) He forces Ophelia against her will and better interests to act in his nasty drama with Hamlet and manipulates her like a doll.

(13) He can sacrifice his daughter’s feelings and reputation for his own limited, self-centred concerns. His nastiness is shown when he says ‘At such time I’ll loose my daughter to him’.

(14) He cynically interrupts Hamlets attentions to Ophelia and turns the office of chancellors into nothing more than a spying agency.






(15) His insensitive intrusion into the Hamlet-Gertrude relationship show his blindness to the intense feeling that underline the relationship and his lack of respect for their privacy. He encourages Gertrude to provoke Hamlet to violence and takes delight in awaiting the spectacle that will result.

(16) His final instructions to Gertrude to be ‘round’ with Hamlet, shows no understanding of the results such behaviour on her part will cause.

(17) It is ironic that he meets his death in a production staged by himself, with him as the director. Remember his earlier lines.

randomfella

*Laertes*

(1) Laertes functions a foil to Hamlet.

(2) He is the typical revenge hero, and consequently represents a standard of measurement for Hamlet. Like his father, he is given to conventional moralising, offering Ophelia some serious and misleading advice on her relationship with Hamlet, as Polonius will do. Her quiet response shows the path his own life will take. He is a person who can give advise to others but not follow his own guidelines. A person who ‘recks not his own rede’ as his sister puts it.

(3) Worse follows when Laertes forgets all the principle he has shared so freely with Ophelia when he expresses a willingness to cut Hamlets throat in church.

(4) Even more damaging on his moral character is the fact that he has come to Denmark with a purpose of practicing treachery on an enemy.

(5) He is able to add to Claudius’s plan by becoming his foil to use against Hamlet. Whereas Hamlet can be emotionally unstable but morally stable, Laertes is the opposite. His interview with Claudius brings one’s mind back to advice given by Polonius.

(6) In the end, Laertes proves totally untrue any preconceived notion of decency he may have of himself. Claudius has little difficulty in exploiting his weak moral sense by employing flattery, false sympathy and a clever challenge of Laertes pride.

(7) Laertes allows himself to be blackmailed into a treacherous partnership by Claudius, which he lacks any moral strength to break.

(8) His shallowness is underlined when, before the fencing match, he repents too late and only when his own life is fading away.

(9) One note of redemption however is his indication on his dying breath that Claudius is to blame.

randomfella

*Ophelia*

(1) Ophelia’s character has the tendency to come across rather tame, easily lapsing into sentiment.

(2) There is a charming innocence about her activities during life and a pathetic beauty about her death.

(3) She is – as her father say’s ‘a green girl’, childlike, inexperienced, frightened by Hamlets behaviour and totally obedient to her father.

(4) She is a classic example of the innocent who suffer in the tragedy, the victim of a process set in motion by a force beyond her control. She ultimately pays the penalties for the crimes of others.

(5) In many tragedies there is a huge disproportion between the offences committed by a participant and the suffering they must endure.

(6) You might go further in Ophelia’s case, as she is a guiltless victim of an evil all around her in which she must endure bereavement and die in madness as a result.

(7) In the cases of Polonius and Laertes there is at least the satisfaction that they can account for their deaths as the outcome of rashness or a crime. Laertes sees some justice in his own fate, but no such ‘meaning’ can apply to Ophelia’s death.

(8) Ophelia subdued mere subordinate character is there for a purpose: Shakespeare would have not wanted a passionate, enthusiastic character to play the love interest as they might unduly attract attention from the main themes of the play.

(9) There is another interpretation of Ophelia’s role and her restriction of a love interest. In the nunnery scene Hamlet makes it clear at his revulsion of love and marriage – not necessarily at her. This scene makes it clear that he is rejecting women in general due his mental anguish over his mother’s sin. Ophelia is the innocent victim of Gertrude’s crime, which causes Hamlet to feel this way.

(10) It is important to note that it is hamlet who rejects Ophelia’s love: his insulting behaviour to her is not the result of her refusal to accept his love letters.

(11) In the nunnery scene she stands before Hamlet, an image of female frailty, confessing that she believes that he does love her, Hamlet response is ‘wouldst thou be a breeder of sinners’ due to his tainted views on human love instigated by his mother. Ophelia thusly becoming the unwitting, perplexed focus of his disgust on marriage, procreation and love.

randomfella

*The Ghost*

(1) The most obvious and important feature of the Ghost’s role is that it is vital in instigating the action. His revelations are the catalyst for all the dramatic events that follow in Hamlet. If there had been no ghost perhaps Claudius would have enjoyed his fruits of his crime – unless of course some other apparatus to incriminate him might have been used.

(2) From Hamlets point of view, the Ghost’s main purpose is to place an almost intolerable burden on his shoulders. The knowledge the Ghost conveys and the task of vengeance he imposes are great sources of suffering to Hamlet and indeed to all characters in the play, leading ultimately to fall of the royal house of Denmark.

(3) Early reactions to the Ghost are mixed: Sceptical Horatio dismisses it as a fantasy but comes to believe that it appeared for a reason and that it can only be put to rest if its wishes are carried out.

(4) Marcellus and Horatio fear that it might be a devil, leading to doubt in Hamlet’s mind and treating his sanity and life. However Hamlet comes to accept that it is his father’s spirit after the success of the play in exposing Claudius’s guilt his doubts are dispelled.

(5) What is the nature and significance of the Ghost? Hamlet’s questioning of whether he is good or evil gets its answer by the end of act 3: that the Ghost has come from purgatory as a divine agent to seek punishment of an evil doer.

(6) However this poses a problem. How can a saved Christian soul be able to powerfully dictate revenge? One of the moral problems of Hamlet is that the anti-Christian ethic of revenge is never tested by or brought up against the Christian values in place at the time.

(7) The Ghost poses other problems also. Throughout the play Hamlet beings to believe that a divine faith awaits whatever he and Claudius may decide. The Ghost however, seems unaware of this growing of Hamlets insight on life and the pattern of events in the play. The force of faith will provide the means to provide Hamlets enemies with there own destruction – rendering Hamlet unnecessary in the active role of the avenger. But the Ghost on his last brief appearance he still calls for vengeance and reprimands Hamlet for not honouring it.

(8) So if the Ghost is divine as Hamlet has said why doesn’t he back up Hamlets view on faith? Instead he calls for vengeance once more rejecting Hamlets ‘divinity that shapes our ends’ view.

(9) Also the fact that Hamlet questions the Ghost’s nature and purpose for the first half of the play has important dramatic consequences. Hamlets search for the truth in the shape of the insert-play would mean that he is genuinely looking for the true nature of the Ghost – good or evil- and not to delay the action against Claudius.

randomfella

*The Betrayal of Love *

(1) Hamlets detachment from the world of Ellsinore, his disgust with life, his deep melancholy and his scepticism about female virtue are all rooted in his shock that mother remarries etc.

(2) This is compounded by his dislike for his uncle and new king.

(3) This is revealed before his meeting with the ghost.

(4) The meeting increases and intensifies his mental horrors he must endure.

(5) Hamlets suicidal mood has its origins in his mother betrayal of his father – her marriage to a lustful and repulsive man Claudius, and the incestuous relationship of this marriage (church would have regarded it as incest).

(6) Hamlet is forced to confront the ghost’s revelation that Gertrude and Claudius murdered him.

(7) Also the ghost suggests that the affair was going on before he was dead. Hamlet response is disgust on Gertrude and Claudius.

(8) However the Ghost suggests leaving Gertrude be.

(9) However this is an impossible demand as Hamlet is infuriated by his mothers fall from virtue (tainting his view on women in general).

(10) Hamlet is convinced of his mother’s betrayal of his father, her adultery and finds it impossible to believe that woman are different.

(11) When he learns that his mother has influenced his relationship with Ophelia he lashes out at her. Bring her and all women’s virtue into question.

(12) His repressed anger at Gertrude’s infidelity finds an outlet in the closet scene. He reveals his that his ideals have been shattered by his mother’s betrayal and believes it has greater implication i.e. a sin against marriage.

(13) He brands his mother a harlot and blames her for contaminating his “innocent love” for Ophelia, which he now doubts.

(14) He shows this when he encounter Ophelia and obsesses about female chastity – due to his mother behaviour as he sees it- and says to retain he virtue she would have to enter a convent where her chastity will be shielded from marriage, love and the breed of sinners.

(15) It is arguable that Hamlet is more preoccupied with his mothers infidelity that avenging his father death – his father telling him not too forget that Claudius is the reason why he appeared (vengeance).

(16) His passion is diverted from avenging his father to saving his mother from further contamination of Claudius. When his mother is reformed and purged her guilt Hamlet will resume the role of loving, respectful son

randomfella

*Claudius*

(1) The presentation of Claudius is an interesting one. He is by no means the classic villain of the play. The more dastardly aspects of his character are filtered to us through the two characters to which he has wronged – Hamlet and his father.

(2) However there is a different Claudius to that shown to us by Hamlet and his father. We are allowed glimpse this “other” Claudius from time to time, which humanises and balances his character. We see that he is a man not a monster.

(3) The attractive side to Claudius belong mainly to surface. He behaves at the beginning of the play as the typical kindly uncle, anxious to put his nephew at ease and to make him feel at home in the court. He holds out the prospect of royal succession and generally flatters him.

(4) Claudius’s courtesy, relatively unforced at this point in the play extends to the ambassadors and Laertes. Claudius desire to please the latter is carried to the point of extravagance.

(5) Hamlets view of Claudius as a king is coloured from his hatred of him as a person, not borne from the facts as they appear. We see Claudius however in his capacity of monarch as an efficient, diplomatic, capable and practical ruler - which is shown by his quick dealing of the Norwegian problem.

(6) His speech of commission to the ambassadors shows his clear judgement, incisiveness, and control of the matter in hand thus achieving an easy and peaceful settlement.

(7) In light of his efficient public affairs dealings it is surprising that Claudius may not be in control of the countries affairs at following the death of Polonius.

(8) Then more dramatic new comes from the gentleman that Laertes has raised an armed rebellion and the common cry is “ Laertes shall be king”. However at this point of crisis that Claudius shows his political skills at their most impressive: confronted by the armed Laertes, he displays a rare present of mind, coolness in the face of danger and ironically for a murderer of a king, a sense of dignity and sacredness of his royal office.

(9) He quickly converts a dangerous enemy of his own into a weapon against Hamlet in the form of Laertes showing his quick wit for his self-preservation. Hamlet may be able to win verbal battles with Claudius however the latter is by far the better plotter.

(10) He skilfully plans to kill Hamlet away from Gertrude so as not to upset his relationship with Gertrude.

(11) A point which deserves emphasising, if we accept fully the play scene which sees Claudius as being able to witness the dumb-show without reacting openly then we must conclude that he is a outstanding operator who hardly ever loses his nerve. He is a better actor in the Play scene than the players themselves.

(12) Claudius then has his strengths as a politician, a monarch and a diplomat. He has a strong nerve and cool head under pressure. He can handle people – even potentially dangerous people – with much assurance.

(13) He must also have an attractive and pleasing presence despite hamlet branding him, as “a mildew’d ear”. However in one of Hamlets calmer moments he accurately describes his uncle and himself as “mighty opposites” paying an unconscious tribute to his enemy’s stature.

(14) That’s not to say that Claudius is all-good. The evil qualities of his character are efficiently exposed by Hamlet and his father, however no emphasis on his more endearing qualities or on his statecraft can obscure the fact that he committed on the worst crimes known to man, even admitting this himself.

(15) However there is a possibility that even a murderous brother can be a devoted husband. This is evident when Claudius tells Laertes his feelings for Gertrude.

(16) Further events however contradict this theory. In the final moments of the play, when Gertrude raises her lips to the poisoned cup, Claudius makes a vain attempt to stop her – watching her take her life without saying the words that could save it.

(17) He seems to prefer concentrating on saving his own life. His last words about her are a heartless lie to save himself from detection. “ She swoons to see them bleed”. He seems to have no feeling for her suffering only his own “ O yet defend, friends, I am but hurt.”

(18) However in the prayer scene we see Claudius as a tragic villain. The audience would find it difficult not too feel for the plight of Claudius. Few tragic villains have giving more moving or beautiful sentiments to express his inner turmoil.

(19) The most striking feature of this scene is that it reveals a conscience-stricken, fearful man facing the terrible truth that no forgiveness is possible for his crimes while he is still enjoying the fruits of his labour. This view of Claudius reinforces our earlier view his humanity.

(20) There is no simple portrait painted of Claudius in Hamlet. He is called several nasty names by Hamlet: incestuous, adulterer, smiling damn villain etc. And we know all these to be true. However he is a complex and convincing view of humanity.

randomfella

*Hamlet*
- The Tardy Avenger–

(1) Hamlets tardiness in carrying out the Ghosts instructions is woven into the very fabric of the play.

(2) He mentions his delay throughout the play, agonising and getting anger over it when he thinks about it.

(3) We have to ask ourselves why does he delay? There are some explanations with good bases in the text.

(4) The first explanation would imply some psychological defect in Hamlet. He may be squeamish about blood, or revel in thinking about the act but not performing it.

(5) He may be severely depressed, incapacitating him planning effective revenge.

(6) Critics say that he suffers from the Freudian Oedipus complex. In which he would resent having to share his mother’s affections with his father – on a sublevel wish to remove his rival and father. It would also involve the rebellion of his instincts not to kill his uncle, whose crime was the same as his own subconscious desires.

(7) Another explanation would be that Hamlet is morally flawed, that he rebels against his task, his duty because he lacks the courage to pursue it.



(8) We could also say that Hamlet – like the rest of us – can be initially enthusiastic about his duty but defer the unpleasant activity as along as possible (put it on the long finger). He would then have in other word an exaggerated procrastination complex.

(9) Critics have also said that Hamlet, on reflection, find the Ghosts vindictive requests to brutal and repulsive for his morally sensitive nature to carry out.

(10) Finally you could also say that Hamlet put off his duties for as long as possible to satisfy his conscience, or establish “honesty” and good faith of the Ghost who may after all be a devil come to damn his soul. He tests the Ghosts word by exposing Claudius to the play but doesn’t come up with concrete evidence of his guilt – not enough to satisfy a court.

(11) Whatever the reason, Hamlet never fully becomes a revenge hero. The explanations above do not give much credit to Hamlet where maybe credit is due. For example:

- Hamlet shows on many occasions that he is able to take a life e.g. Polonuis in mistake for Claudius, sends Rosencrantz and Guilderstern to their deaths and ultimately kills Claudius.
- But these acts are spur of the moment – not planned murders to avenge his own Fathers murder.
- He seems unable to carry out his plan with full deliberation – as is shown in the prayer scene – perhaps because he find that murdering Claudius will not be a satisfactory form of retribution. Hamlet may feel that killing Claudius in cold blood with not bring his father back or restore his mother’s innocence and virtue.




(12) What Hamlet does is play a waiting game sensing that in the end Claudius will trap himself in his guilt. Shakespeare allows Hamlet to fulfil the task of vengeance without taking the road of a morally revolting scheme of slaughter – thus not alienating our sympathies with hamlet- and allowing Hamlet to stand morally apart from his enemies whose treacherous and deceitful plans he cant stoop to.

randomfella

All of these last poets this morning is kudos to somebody who sent them to me off the boards. I forget who it was.

Cherry_Pie

Does anyone know a quote that shows Hamlet wanted Revenge over Rosencratz and Gildernstern???

Sarah**

just home from an all day grind with philip campion, he's amazing im sure you have all heard about him...he talks on spin 1038 most mornings and will be on 2fm next tuesday from 8 to 9 with night before tips. he reckons that more then anyone else in the play that claudius will be the most likely character examined and polonius is also a second fave....

randomfella

Sarah** wrote:

just home from an all day grind with philip campion, he's amazing im sure you have all heard about him...he talks on spin 1038 most mornings and will be on 2fm next tuesday from 8 to 9 with night before tips. he reckons that more then anyone else in the play that claudius will be the most likely character examined and polonius is also a second fave....

**** i definetly wouldn't agree with polonius. How unfair would that be compared to 2002 when hamlet came up. I reckon it would be such a straight forward question if it were polonius. Remember that every exam will have students failing and students getting A1s. THat isn't a fair question to put on polonius. I know ur supposed to have a more in depth knowledge of the single text but i still. Maybe if he came up with laertes it would be easier. Still nobody tips on the revenge theme?

Sarah**

revenge is that not to blatent when it comes to this play....i mean unfair yes but possible absolutely! i mean polonius has so much to him and is quite a vital chracter...would you not agree that he is very likely?

randomfella

Sarah** wrote:

revenge is that not to blatent when it comes to this play....i mean unfair yes but possible absolutely! i mean polonius has so much to him and is quite a vital chracter...would you not agree that he is very likely?

no. and i hope he doesn't come up. Revenge is not that blatant? come on its the main theme of the play. How hamlet avenges his father's death.

Sarah**

yeah but wouldnt that not be cause enough for them not to put it on....think about it....its not like they want us knowing....its the ones that are not so obvious to comeup.... i put fortinbras to campion today and he said " i think sarah your a gambler. in hoping for fortinbras or even suggesating him would be riduculous" i think polonius and his relations with other characters and also his ability to maipulate is quite likely....

randomfella

but they didn't ask gertruder or ophelia on their own, they were combined or where they?

No i never expected an essay on fortinbras as i said previously but ahh maybe your right. But claudius? I think there will definetly be a theme q. I think they should print a certain amount of questions in the cirriculum and then just give us 2 on the day. Because they do unfortunately *lowers head
have license to ask us anything.

Sarah**

aww sorry to get ya down..... i know i agree with that and the two questions on the day....i know this came up on the mocks but i think claudius and his ability to be king is likely too....i dunno will we really get anywhere by predicting...meet ya here wednesday night...no doubt our tune will have changed!!

Scarinae

Polonius is so good to write about! My teacher says he has a feeling Polonius might come up, he set us an essay on him, it's way easier than you think. You can write about false appearances, the theme of corruption, how people are always sneaking around in Elsinore, you can comment on the way Polonius puts his place in the court above his family and how he uses Ophelia to gain favour with the King, the way he is pivotal in the play because it is only with his death that Claudius realises Hamlet is dangerous and has him sent off to England

Sarah**

yup yup fishie!! i gots that feeling too..... by any chance is ur teacher philip campion...thats exactly what he said to us today....listen to this for sound....he gave his students his email address so they could email him any queries before the big day....

Scarinae

No, his name is Mr Hamill!! But I think it's a common feeling

Scarinae

randomfella wrote:

Hamlet Quotations to Learn

Act 1

Scene 1
“Who’s there?”

“This bodes some strange eruption to our state”

Scene 2
“nor have we herein barr’d
Your better wisdoms, which have freely gone
With this affair along.”

“A little more than kin, and less than kind”

“Seems, madam? Nay, it is; I know not ‘seems’”

“O! That this too too solid flesh would melt,
Thaw and resolve itself into a dew!
Or that the Everlasting had not fix’d
His canon ‘gainst self-slaughter! O God! O God!
How weary, stale, flat and unprofitable
Seem to me all the uses of this world!
Fie on ‘t! O fie! ‘tis an unweeded garden,
That grows to seed; things rank and gross in nature
Possess it merely”

“Frailty, thy name is woman!”

“Thrift, thrift, Horatio! The funeral bak’d meats
Did coldly furnish forth the marriage tables.”

“I shall not look upon his like again.”

Scene 3
“the apparel oft proclaims the man”

Scene 4
“Something is rotten in the state of Denmark.”

Scene 5
“Revenge his foul and most unnatural murder.”

“Haste me to know’t, that I, with wings as swift
As meditation or the thoughts of love,
May sweep to my revenge.”

“one may smile, and smile, and be a villain;”

“There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy.”

“The time is out of joint; O cursed spite,
That ever I was born to set it right!”


Act 2

Scene 1
“By indirections find directions out”

Scene 2
“I doubt it is no other but the main;
His father’s death, and our o’erhasty marriage.”

“I’ll loose my daughter to him”

“for there is nothing
either good or bad, but thinking makes it so”

“What a
piece of work is a man! How noble in reason! how
infinite in faculty! in form, in moving, how express
and admirable! in action, how like an angel! in apprehension,
how like a god! the beauty of the world!
the paragon of animals! And yet, to me, what is
this quintessence of dust? Man delights not me;
no, nor woman neither, though, by your smiling you
seem to say so.”

“I am but mad north-north-west: when the wind is
southerly I know a hawk from a handsaw.”

“O! what a rogue and peasant slave am I!”

“A dull and muddy-mettled rascal”

“I am pigeon-liver’d”

“The play’s the thing
Wherein I’ll catch the conscience of the king.”



Act 3

Scene 1
“To be, or not to be: that is the question:
Whether ‘tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die: to sleep;
No more; and, by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to. ‘Tis a consummation
Devoutly to be wish’d. To die, to sleep;
To sleep, perchance to dream. Ay, there’s the rub;
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause. There’s the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor’s wrong, the proud man’s contumely,
The pangs of disprized love, the law’s delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover’d country, from whose bourn
No traveller returns, puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o’er with the pale cast of thought,
And enterprises with great pith and moment
With this regard, their currents turn awry,
And lose the name of action.”

“O! what a noble mind is here o’erthrown:
The courtier’s, soldier’s, scholar’s, eye, tongue, sword;
The expectancy and rose of the fair state,
The glass of fashion and the mould of form,
The observed of all observers, quite, quite down!”

Scene 2
“now could I drink hot blood,
And do such bitter business as the day
Would quake to look on.”


Scene 3
“O! my offence is rank, it smells to heaven;”

“Pray can I not”

“May one be pardon’d and retain the offence?”

“Now might I do it pat, now he is praying”

“Why, this is hire and salary, not revenge”

“My words fly up, my thoughts remain below:
Words without thought never to heaven go”

Scene 4
“wretched, rash, intruding fool”

“Nay, but to live
In the rank sweat of an enseamed bed,
Stew’d in corruption, honeying and making love
Over the nasty sty, -“

Act 4

Scene 4
“How all occasions do inform against me;
And spur my dull revenge! What is a man,
If his chief good and market of his time
Be but to sleep and feed? A beast, no more.”

“I do not know
Why I yet live to say ‘This thing’s to do;’”

“Rightly to be great
Is not to stir without great argument,
But greatly to find quarrel in a straw
When honour’s at the stake”

Scene 5
“O Gertrude, Gertrude!
When sorrows come, they come not single spies,
But in battalions”

Scene 7
“To cut his throat I’ the church”


Act 5

Scene 1
“Now get you to
my lady’s chamber, and tell her, let her paint an
inch thick, to this favour she must come; make her
laugh at that.”

“This is I,
Hamlet the Dane”

Scene 2
“There’s a divinity that shapes our ends,
Rough-hew them how we will”

“Why, man, they did make love to this employment;
They are not near my conscience”

“If your mind dislike anything, obey it”

“we defy augury; there’s a special providence
in the fall of a sparrow. If it be now, ‘tis not
to come; if it be not to come, it will be now; if it be
not now, yet it will come: the readiness is all”

“incestuous, murderous, damned Dane”

“If thou didst ever hold me in thy heart,
Absent thee from felicity awhile,
And in this harsh world draw thy breath in pain,
To tell my story”

“The rest is silence”

“Good night, sweet prince,
And flights of angels sing thee to thy res

Yay, my quotations! I'd forgotten that I sent those to you. I actually know the longer ones way better because I was so determined to get them right, I often forget the two-liners
But I'm just so proud of myself that I can recite the third soliloquoy!