Performance Choices

My partner in this assignment, Brynn, and I acted out the scene between Ophelia and Polonius on page 749, Act 2, Scene 1, lines 72-84. We decided to choose this scene because of the dynamics presented between father and daughter.My role was of Polonius' daughter Ophelia. I decided to portray this character as a genuine, submissive, and truly frightened daughter. In this particular scene, Ophelia is expressing her concern and worry for Hamlet to her father, who is attempting, as we interpreted, to extract any information he can instead of supporting his daughter's emotional breakdown. In my approach to Ophelia's character, I realized that she is a very naive and innocent girl, who simply needs some kind of a support system, which she is not able to get. Because of this, I thought it best to play her exactly how her words came across in the text, with no expression of an ulterior motive. Alternative to this choice was to show Ophelia as a slightly more critical or "street-smart" personality when speaking to her father. Instead of playing the role as genuine, I could have played the role as an inquisitive Ophelia, critical of her father in the results of his decision to tell his daughter not to speak to Hamlet ever again.

Hamlet's Soliloquies and Conflict in Shakespeare's play; Page 832, #9 & Page 833 #7

9.) Hamlets four soliloquies (I.ii) (II.ii) (III.i) (IV.iv) are remarkable for their style as well as their substance. Choose one of these monologues and discuss how its diction, figurative language, imagery contribute to Hamlet's meaning and purpose.

In this tragedy by William Shakespeare, though Hamlet has many significant soliloquies, his first one in Act 1 Scene II holds the most importance in establishing his meaning and purpose. The protagonist's diction is very aggressive and sad all at the same time which represents the constant inner conflict Hamlet feels throughout the story. His anger toward Claudius' kingship and his mother's new relationship with her brother-in-law is able to create a permanent foundation for how the reader continues to perceive Hamlet's behavior and personality. The most paramount effect of this first soliloquy is the blunt and straight-forward language Hamlet uses. His repetition of the phrase "two months dead!" displays an inner dissatisfaction of his father's sudden death, which we see the protagonist struggle with throughout the play. Furthermore, we can see the amount of hatred he harbors for his uncle, the new king, as he derogatorily attacks his character: "My father’s brother; but no more like my father." Moreover, his disgust for the relationship between Claudius, his uncle and Gertrude, his mother comes into play. He attacks the "incestuous" relation they have with unharnessed anger, very clearly. The audience can see the pain and anguish that is being only halfway expressed by Hamlet in his first soliloquy as it comes to a rushing halt; "But break my heart,—for I must hold my tongue." From there on, the reader and audience can conclude that a brutal emotional conflict within the protagonist will ensue and become the backbone of the entire tragedy.


7.) Consider many conflicts in the play- for example, those between reason and passion, order and chaos, concealing and revealing, write an essay explaining how that conflict reveals a dominant theme of the play

A very dominant theme of the play lies in the mind of the protagonist, Hamlet. While this seemingly may be a very simple and obvious conflict to assess, there is a depth of complexities associated with the inner working of this character. The conflict Hamlet deals with is within himself as he begins to blur the line between reason and passion. While his plan of revenge on Claudius is very passionate and comes from love for this own father, we can see that the reasoning behind it tends to be rather unclear. On several occasions the reader experiences Hamlet questioning his own intentions to avenge the death of his father; as the play carries on, reason and passion seem to intersect for the protagonist. This inner conflict for Hamlet makes the chassis of the entire tragedy. His madness and calmness counteract to create a dual perspective on the plan he has to kill Claudius, his uncle and the king. In Hamlet's consistent confusion between reason and passion, the audience and reader grasp the true idea of the emotional clash that takes place inside the very disturbed protagonist's mind.

Hamlet's 'Antic Disposition': Page 830, #7,14

7. Why do you think Hamlet tells his companions he is likely to put on an "antic disposition" (1.v.172)? Is his behavior a deliberate strategy or a natural reaction to his anger and grief? Explain

Hamlet declares his use of an "antic disposition" probably due to his desire to expose his true anger and emotion without being completely judged for his behavior.His behavior seems to be a mixture of both deliberate strategy and natural reaction to his anger and grief. While his plan for avenging the death of his father includes his bizarre behavior throughout the play, the audience cannot help but wonder if his disposition reflects his true emotions in some way. His deliberate strategy can only take him so far, but at some scenes in the tragedy, Hamlet is seen expressing his deep anger and frustration in solitude. The dense similarities between his diction in his soliloquies and that of his behavior in public situations further proves a slight realness in his "antic disposition." In order to vent his anger and grief, which he is definitely filled up to the brim with AND as a deliberate strategy to attain success in his revenge on King Claudius, Hamlet puts on half a facade and half an emotional truth on his face, signifying his "antic disposition."


14. In Act 2 Scene 2, lines 236-37, Hamlet says "Why, then, 'tis none to you; for there is nothing either good or bad, but thinking makes it so." What assumptions underline Hamlet's response? What does he mean? Do you agree with what he says? he then says to his old friends, "I am but mad north-north west: when the wind is southerly I know a hawk from a handsaw" (II.ii.330-31). What does this remark suggest about Hamlet's madness, about his antic disposition? is he mad, or is he acting? Explain

In Hamlet's response to Rosencrantz as he says "Why, then, 'tis none to you; for there is nothing either good or bad, but thinking makes it so..."(2,2,236-237), his comic anger is in its transition to seriousness. The protagonist's main goal shifts to finding out if Guildenstein and Rosencrantz have been sent to spy on him. By beginning to force the two men into discomfort, Hamlet is determined to get the truth out of them. In his statement addressing his old friends: "I am but mad north-north west; when the wind is southerly I know a hawk from a handsaw."(2,2,330-31), Hamlet almost clearly expresses his knowledge of his own insane behavior. While his behavior does represent both an act and his true emotions, Hamlet is sure to articulate that while he does, at times, let his anger carry him away, his friends can trust that he is mainly, only putting on an act.

Laertes and Polonius in connection to Ophelia; Page 830, #4

4. What is the basis for both Laertes' and Polonius' objections to Ophelia's relationship with Hamlet? Which of their arguments seems most and least persuasive or fair? What does their treatment of Ophelia in act 1 scene 2 reveal about their motivations? What does it suggest about their attitude toward Ophelia and toward women in general? How does class or station function in their arguments?

The fundamental reasoning behind Laertes' objections to Ophelia's relationship with Hamlet mainly lies in true care and concern for his sister while Polonius' objections lie mainly in his concern for his image and his power. Laertes' advice can be seen as a true desire for the well being of his younger sister. As he addresses the possibilities of heartbreak for Ophelia if she does engage in a further relationship with Hamlet, his intentions are clear. Though the reader can also conclude his fondness of authoritativeness in undermining a woman, we can mainly see that the emotional and physical well being of his sister matters to him. In opposition, Polonius shows the readers and audience the extensive power trip that he is on as he takes advantage of his obedient daughter. More than anything, Polonius desires the best for himself at the cost of any of this children. This is clearly seen as Polonius objects to Ophelia's relationship with Hamlet initially, but over time, as he realizes his own benefits in the relationship, decides to "loose" his daughter unto the protagonist. The only reason for Polonius' original problems with the relation between Hamlet and Ophelia was only for the sake of his own ego and authoritative persona. The selfishness and unnecessarily controlling basis of Polonius' advice to Ophelia is evident through his actions before, during, and after the "advice" he provides his daughter, thus making his argument wholly, less fair, reasonable, and persuasive.

Both the men's treatment of Ophelia in Act 1 Scene 2 demonstrate the inferiority of women to men in early English society. Both father and son expect Ophelia to follow their "more expert" advice. Also, Polonius' controlling diction gives the reader the clear idea that he enjoys his daughters obedience to his every command while Laertes' seems more mellow of his advice, yet still exhibits a good amount of superiority in his desires than those of his sister.

Overall, Polonius and Laertes both reveal sufficient evidence to conclude their view of women and the basis of their objections to the relationship between Hamlet and Ophelia. As overpowering men, they are quick to demand Ophelia's subordination to their advice. However, while Laertes' motivation is more pure, Polonius illustrates a rather convoluted motive.

Horatio vs. Ophelia: Who's the Better Friend?

In the famous play "Hamlet" by Shakespeare, the dynamics between many relationships are revealed through the speech patterns of each character. The most crucial relationships to understand are those that are connected closely to Hamlet, highlighting his interaction with his two closest friends: Horatio and Ophelia. Shakespeare indirectly demonstrates the relationships of Horatio and Ophelia with the protagonist, focusing primarily on what the two characters say and how they phrase their words. By creating two characters who have close relationships to Hamlet, Shakespeare is able to offer the audience a deeper view into the differences generated by contrasting speech patterns. Both Ophelia and Horatio's speeches expose a deep care and compassion for Hamlet, while at the same time exhibiting a conflict in terms of how they deal with the protagonist in his manic outbursts. Horatio's spoken pattern seems to question the insanity of his best friend, while Ophelia's words seem to primarily offer a sympathetic expression for her lover. Horatio and Ophelia's discrete relationships with Hamlet are readily reflected upon in their speech patterns: Horatio's curious, yet supportive diction and Ophelia's naive, yet understanding locution.

The Love Song of J. Alfred Prufrock - One Line Analysis

"We have lingered in the chambers of the sea 
By sea-girls wreathed in seaweed red and brown 
Till human voices wake us, and we drown." (Line 129-131)


In "The Love Song of  J. Alfred Prufrock," a modern poem by T.S. Eliot, the insecurities of a man are exposed to the reader. The author uses such diction in which he can create imaginable circumstances, "We have lingered in the chambers of the sea By sea-girls wreathed in seaweed red and brown Till human voices wake us, and we drown." (Line 129-131). Through this fantasy-like vision of mermaids and the sea, Eliot is allowing the reader to identify with Prufrock's emotions. The feeling of needing to be in a different, mythical world for the comfort of oneself is explored through the diction employed. Describing his presence in "chambers of the sea" gives the reader a sense of his desire to hide his insecurities due to others judging him. Prufrock seems to remain peaceful as himself in another world. The "sea-girls" embody the desirous vision of an interaction with women. The mention of the girls demonstrates Prufrock's comfort around females in a fantastic scenario. The narrator's connection between "human voices" and drowning is further explicatory of his inferior feelings toward society. Prufrock's ease in another world is suddenly destroyed as he brings the negativity of human voice into the poem. The presence of human judgement is almost degrading to his personality. The drowning can be associated with his feeling of constantly being judged by those around him, while also insinuating that  in the alternate universe, he was more likely to float in the sea, free of insecurities.  Finally, the author's choice to use the pronouns "us" and "we" rather than "I" gives the reader a feeling of really getting into Prufrock's mind as he experiences social abnormality. We feel as though Prufrock has integrated the reader into his fantasy; and somewhere inside, we open ourselves to the reality that is the selectivity of society.

Mini-Essay: "To His Coy Mistress"

In the poem "To His Coy Mistress" by Andrew Marvell, written in the early 1650s, a man attempts to persuade a young woman to engage in a physical relationship with him. The man's argument is supported with a blanketing statement of "carpe diem" or "seize the day." Through this process, the narrator emphasizes the woman's superficial qualities such as: beauty and youth, while he neglects to accentuate the woman's personality and emotions. The importance given to the transient, physical traits of the woman manifest themselves in Marvell's diction. "For, lady, you deserve this state, Nor would I love at lower rate." (Line 19,20). The narrator's shallow attitude toward the relationship between man and woman is clear. The only goal the man exhibits is his undying lust for a young, beautiful woman. No depth in relationship is expressed through his persuasion. Rather than enforcing an emotional connection with this woman, the narrator is concentrating on the loss of a youthful physicality. Also, the narrator is placing the brunt of his argument on the idea of his romantic necessities rather than that of the woman. Overall, the speaker of the poem does not take into account a deep approach to a relationship, however, adds an unnecessary importance to the woman's beauty.

"To His Coy Mistress" by Andrew Marvell

Line 1
"Had we but world enough, and time..." 

The narrator of this poem attempts to manipulate a woman toward a physical relationship through his conditional diction. "To His Coy Mistress" begins on a conditional note, "Had we but world enough, and time..." (Line 1) that carries through the entirety of the piece. The essence of the poem is based on "carpe diem" or "seize the day" in latin. The words in the commencement of the poem give the reader a scenario to envision: the idea that an entire lifetime is no where near enough to complete desired activities. The narrator's manipulation of the woman is recognizable through his portrayal of the world as an unfathomably large place with insufficient time to discover. Basically, the narrator argues that life does not give one enough time for second chances and if an opportunity is not snagged as soon as it appears, then one will ultimately die unaccomplished. The use of the conditional is effective in the sense that the reader is able to feel the urgency of any eventual ambitions. The first line solidifies and strongly begins in emphasizing the very core of the phrase "carpe diem" and is paramount in understanding and interpreting the rest of the poem.