Performance Choices

Allison and I plan to perform Hamlet and Horatio's conversation that takes place right after Hamlet's first soliloquy. As we practiced in class, we realized the importance of not only reading the text, but also putting certain emphasis on words or phrases to convey the actual meaning of the words. I found that particular movements, such as hand gestures, and tone allow the audience to understand and engage in the scene much more than if the text was read with no excitement or emphasis. For example, when Hamlet says, "I prithee thee, do not mock me, fellow-student; I think it was to see my mother's wedding," (I.ii.176-77) his tonal shift from friendly to defensive illustrates his bitterness towards Horatio for coming to his mother's wedding, rather than his father's funeral. In addition, this scene reveals much of Hamlet's ability to quickly switch his persona from very depressed to cheerful and social (once Horatio appears). We thought that this scene would, therefore, be challenging but fun to perform because of its significance and complexity.

Appearance vs. Reality

Appearance vs. reality plays a big role in Shakespeare's Hamlet. In the beginning of the play, Hamlet is trying to express his pain and sorrow because of his father's death to his mother, but she does not seem to believe him; "Why seems it so particular with thee? Seems, madam! nay, it is; I know not "seems."...solemn black...shapes of grief...a man might play..." (I.ii.75-84). This conversation between the Queen and Hamlet directly illustrates the theme of appearance vs. reality because it shows the Queen's doubt of Hamlet's "depression," and Hamlet's frustration with his mother's inability to believe him. Hamlet is actually sad and trying to confront his mother, but King Claudius, once again, tries to make Hamlet move on from his grief and forget about it all. Hamlet's use of "seem" and "play" represents how he presents himself vs. how he really is/feels.

Concealing & Revealing

Concealing and revealing is a major conflict in Shakespeare's Hamlet. Hamlet, in particular, after finding out that Claudius murdered his father, begins to conceal his true actions and ambitions by pretending to be crazy. As Hamlet starts to form his plan of revenge again Claudius, he only reveals to his friends that his actions are nothing more than an act; "I am but mad north-north west: when this wind is southerly I know a hawk from a handsaw." (II.ii.330-31). This clearly proves that Hamlet is not actually crazy because he explicitly says that he can decide when and how to act like a mad man. In addition, King Claudius proves to be a very deceptive character because he conceals his true ambitions and identity; "That we with wisest sorrow think on him, together with remembrance of ourselves." (I.ii.6-7). This clearly shows Claudius' hidden feelings and agenda because he obviously has no remorse or pitty on the former King's recent death. Following this act, Claudius begins to reveal his true ambitions to the audience and begins to show his apathetic nature towards everyone that stands in his way of being King.

Hamlet's Four Soliloquies

Hamlet's first soliloquy allowed him to finally feel his oppressed emotions over his father's recent death. His diction reveals his frustration and his sadness. In addition, this is the first time that the audience witnesses Hamlet's internal depression and frustration with himself; "How weary, stale, flat, and unprofitable...this world!" (I.ii.133-34). In addition, "Fie on't! ah fie!" (I.ii.135) demonstrates Hamlet's long-overdue expression of his emotions. It is almost like a vomiting of emotions, which show his vulnerability and his pure frustration and sadness. In this soliloquy, Hamlet is truly exposed and ripped apart by finally admitting and acknowledging his feelings. Near the end of his soliloquy, Hamlet's speech begins to be more flustered and fragmented (in discussing his frustration of his mother's new marriage to King Claudius, therefore showing his disapprovement and anger.)

Questions 7 & 14

Question #7: Hamlet expresses that he is likely to put on an “antic disposition” (I.v.172) because he is planning on seeking revenge on King Claudius. Hamlet’s behavior is obviously a deliberate strategy, although he has demonstrated much anger and grief due to his father’s recent death. Hamlet has portrayed himself as unstable and vulnerable, but the one thing that he is not is a fool. He is certainly aware of what he is achieving through his slightly manic behavior; his desires of getting revenge on Claudius quickly become his ambition.

Question #14: Hamlet’s assertion that “there is nothing either good or bad, but thinking makes it so” proves his act of vulnerability and weakness that he is putting on infront of everyone. He is intentionally trying to portray himself as down and depressed, when he is really only thinking about having revenge on Claudius. In addition, Hamlet says “I am but mad north-north-west: when the wind is southerly I know a hawk from a handsaw” (II.ii.330-31) which, also, clearly demonstrates the few hints that he is not actually mad. Someone who is actually mentally ill does not have the ability to decide what time of the day or week he or she will be mad. Hamlet is definitely acting so that when he takes revenge on Claudius, he will not have seen it coming. 

Advising Ophelia

Laertes and Polonius both strongly object to Ophelia's relationship with Hamlet because of two reasons. Laertes feels that Hamlet's "love" for Ophelia could potentially be superficial and not at all reality. He goes along lecturing her about staying away from Hamlet and that she should not be fooled by his words or charms. Polonius' objection stems from his fear that Ophelia will be walked all over by Hamlet and that she will, inevitably, get hurt. Laertes' argument seems more fair than that of Polonius because he is not as assertive and over-protective as Polonius. Laertes' 'argument' seems more like brotherly, concerned advice. Polonius, on the other hand, is much too headstrong and does not really 'advise' Ophelia, he, rather, demands her to stop talking to Hamlet and does not seem to care about her personal feelings over his demand. In addition, their treatment of Ophelia reveals their lack of respect for women, and their almost automatic superiority over her. Class functions in both Polonius and Laertes' arguments because they both make the claim that Hamlet's supposed "love" for Ophelia could be questionable because of his royalty and loyalty to the throne and his country.

Desires Reached by Deception: King Claudius and Hamlet's Differing Personas

In William Shakepear’s Hamlet, King Claudius and Hamlet’s use of language and speech patterns hinder their true emotions. The two men, who are both undergoing a drastic change in their lives, explain their frustration and even ‘hidden-agendas’ through their speech. Hamlet’s sudden loss of his father, and Claudius’ greatest desire of becoming King both allow the two main characters to explore their emotions through pure bursts of emotion, and even deceptive and fake speeches. Shakespeare purposely illustrates the two men as contrasts and, even more so, as foils.  Hamlet and King Claudius’ differences in speech patterns serve to prove to the reader each character’s beliefs, emotions, and motives. Hamlet’s humorous and yet serious character is contrasted with Claudius’ condescending and deceptive persona. Through Claudius and Hamlet’s differing speech patters, the reader witnesses the conflicting emotions between Hamlet’s mental instability as a result of his father’s sudden death, and Claudius’ indifferent and selfish attitude in order to finally be the powerful King of Denmark.

T.S. Eliot's "The Love Song of J. Alfred Prufrock"

T.S. Eliot's poem, "The Love Song of J. Alfred Prufrock," mainly deals with a man's insecurities in modern society and his struggle to fit in. As the poem reaches an end, the man is exhausted and overwhelmed with his anxiety and internal conflicts, "At times, indeed, almost ridiculous--Almost, at times, the Fool." This reveals the man's constant and uneasy feelings of anxiety and insecurity. T.S. Eliot's usage of the "--" impacts the reader so that he or she fully understands the man's emotional struggle. His sudden bursts of language demonstrate his hesitant, emotional, and almost apologetic feelings of his failure in society and in his life as a whole. The man's emotions are a direct parallel to those of Hamlets in Act I, Scene ii; "--why she, even she--O God!...married with my uncle..." This part of Hamlet's solliloquy reveals his frustration, confusion, and inibility to process his father's death, in addition to his mother's marriage to Cornelius. In both situations, the outburts of pure emotion show the pain and sorrow that both men are going through. These randomly spread out interjections also interrupt the complex syntax, and serve to demonstrate two men's feeling of either failure, insecurity, or sorrow.

Mini-Essay: To His Coy Mistress

Andrew Marvel's "To His Coy Mistress" reveals a man's constant struggle to be with his desired lady. Marvel divides his poem into three stanzas; all exerting different tones and feelings towards life and the beautiful woman. The first stanza he describes how much he would love her, no matter how much time they have together. The following stanza's mood and tone shift to a more frightful and intimidating one. Marvel tries to pressure the woman into being with him; "Nor in thy marble vault shall sound." This serves as a metaphor that if the woman does not decide to be with Marvel, she will die lonely and as a virgin. He progressively becomes much more emotional throughout the poem, in that, he becomes much more passionate and 'rallied up' about his relationship with the woman. Marvel's shift in his third stanza takes a completely different approach than was previously made throughout the poem. He begins the stanza with, unlike the normal conditional statement used in the previous stanzas, "Now." This reveals his whole tone that is permeated throughout this particular stanza. His mindset of being completely in the present and 'seizing the day' all influence him to urge the woman to listen and, finally, be with him. He claims that life is much to precious and unpredictable to waste and that it is too short to not fulfill our desires. "Now, therefore, while the youthful hue sits on thy skin like morning dew..." Marvel further reveals his newfound ideology of living life to the fullest while we have it. He also claims that beauty is like dew; it's completely temporary and perishes after some time, so they should seize the day while they have it (and before it is too late.)
Marvel goes through a whole cycle; he starts off slowly and hesitant as he describes his desires for love and the extension of time given to live and love, then becomes intimidating, in describing his sexual and emotional frustration, and then becomes obsessed with the idea of "carpe diem." Through his poem, Marvel reveals to himself and the reader that life and everything in it is completely temporary. Everything has an expiration date, so humans must take advantage of everything that they are presented with.

To His Coy Mistress

"Now, therefore, while the youthful hue sits on thy skin like morning dew..."
This shows the poems shifting tone of "carpe diem." Marvel claims that life is short and precious, so they should be together as much as they can. Beauty is like the dew--it's temporary and expires, so they should seize the day while they have it, and before it's all gone and too late. The poet goes through a whole cycle--he starts off slowly and hesitant, then he tries to pressure and scare the beautiful woman into 'declaring her love for him,' and then, he finally reaches the point wehre he feels as though they need to seize the day and be together. Her beauty and everything around them is completerly temporary; there's a sense of urgency and immediacy permeated throughout the whole poem.