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Group 2: Hamlet Analysis

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Ashath Thasarathan

on 17 July 2013

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Transcript of Group 2: Hamlet Analysis

Plot Development:
Act 2 Scene 2 (line 254-607)
No such matter: I will not sort you with the rest
of my servants, for, to speak to you like an honest
man, I am most dreadfully attended. But, in the
beaten way of friendship, what make you at Elsinore? (268-271)
Inner Disappointment (548-581)
...But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann'd,
Tears in his eyes, distraction in's aspect,
A broken voice, and his whole function suiting
With forms to his conceit? And all for nothing!
For Hecuba!
What's Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
Had he the motive and the cue for passion
That I have? He would drown the stage with tears
And cleave the general ear with horrid speech;
Make mad the guilty and appal the free,
Confound the ignorant, and amaze indeed
The very faculties of eyes and ears.
Yet I,
A dull and muddy-mettled rascal, peak
Like John-a-dreams, unpregnant of my cause,
And can say nothing!
Act III, scene i (l 1-18)
Hamlet Analysis
1.Further character development of Rosencrantz and Guildenstern.

2.Provide comic relief, heightens serious elements (especially at end of this scene) of the play.

3.Further establish Hamlet’s madness.

4.To introduce playwright actors.

5.Plot development: Hamlet is prepared to take action and avenge father’s death

Theme of Suspicion

I thank you: and sure, dear friends, my thanks are too dear a halfpenny. Were you not sent for? Is it your own inclining? Is it a free visitation? Come,deal justly with me: come, come; nay, speak.
(274-277 Hamlet)
Theme of guilt

Any thing, but to the purpose. You were sent for; and there is a kind of confession in your looks which your modesties have not craft -enough to colour: I know the good king and queen have sent for you. (279-283 Hamlet)
Theme of Depression
I have of late--but wherefore I know not--lost all my mirth, forgone all custom of exercises (297-299 Hamlet)

What a piece of work is a man! how noble in reason!
how infinite in faculty! in form and 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. (305-312)
God's bodykins, man, much better: use every man after his desert, and who should 'scape whipping? Use them after your own honour and dignity: the less they deserve, the more merit is in your bounty. Take them in. (528-532)
Dramatic significance
Characterization of Rosencrantz:

To visit you my lord, no other occasion. (272 Rosencrantz)
Humour and irony:
Beggar that I am, I am even poor in thanks. (273 Hamlet)
Background information:
That you must teach me. But let me conjure you, by the rights of our fellowship, by the consonancy of our youth, by the obligation of our ever-preserved love, and by what more dear a better proposer could charge you withal, be even and direct with me, whether you were sent for, or no? (285-290 Guildenstern)
Background information and Topical Allusion:
Nay, their endeavour keeps in the wonted pace: but there is, sir, an aery of children, little eyases, that cry out on the top of question, and are most tyrannically clapped for't: these are now the fashion, and so berattle the common stages--so they call them--that many wearing rapiers are afraid of goose-quills and dare scarce come thither. (339-345 Rosencrantz)
Metaphor and Classical Allusion:
Ay, that they do, my lord; Hercules and his load too. (361 Rosencrantz)
Hercules carrying the world on his back
Background Information:
...for my uncle is king of Denmark, and those that would make mows at him while my father lived, give twenty, forty, fifty, a hundred ducats a-piece, for his picture in little. (362-365 Hamlet)
I am but mad north-north-west: when the wind is southerly I know a hawk from a handshaw. (377-378 Hamlet)
Characterization of Hamlet & dramatic irony:
...for they say an old man is twice a child. (383-384 Rosencrantz)
Classical Allusion:
O Jephthah, judge of Israel, what a treasure hadst thou! (402 Hamlet)
Classical Allusion & Foreshadowing:
'twas Æneas' tale to Dido, and
thereabout of it especially where he speaks of Priam's
slaughter. If it live in your memory, begin at this line—let
me see, let me see—
The rugged Pyrrhus, like th' Hyrcanian beast—(445)
'tis not so; it begins with Pyrrhus—
The rugged Pyrrhus, he whose sable arms,
Black as his purpose, did the night resemble
When he lay couched in the ominous horse,
Hath now this dread and black complexion smear'd(450)
With heraldry more dismal. Head to foot
Now is he total gules, horridly trick'd
With blood of fathers, mothers, daughters, sons.
Baked and impasted with the parching streets,
That lend a tyrannous and a damned light(455)
To their lord's murder. Roasted in wrath and fire,
And thus o'er-sized with coagulate gore,
With eyes like carbuncles, the hellish Pyrrhus
Old grandsire Priam seeks.
So, proceed you. (445-464 Hamlet)
The rugged Pyrrhus, like th' Hyrcanian beast—
The rugged Pyrrhus, he whose sable arms,
Black as his purpose, did the night resemble
Classical Allusion
(the Death of Priam/The AEneid):
'Anon he finds him,
Striking too short at Greeks. His antique sword,
Rebellious to his arm, lies where it falls,(465)
Repugnant to command. Unequal match'd,
Pyrrhus at Priam drives, in rage strikes wide;
But with the whiff and wind of his fell sword
The unnerved father falls. Then senseless Ilium,
Seeming to feel this blow, with flaming top
Stoops to his base, and with a hideous crash
Takes prisoner Pyrrhus' ear. For lo! his sword,
Which was declining on the milky head
Of reverend Priam, seem'd i' the air to stick.
So, as a painted tyrant, Pyrrhus stood,
And like a neutral to his will and matter,
Did nothing.
But as we often see, against some storm,
A silence in the heavens, the rack stand still,
The bold winds speechless, and the orb below
As hush as death—anon the dreadful thunder
Doth rend the region; so, after Pyrrhus' pause,
Aroused vengeance sets him new a-work;
And never did the Cyclops' hammers fall
On Mars's armour, forged for proof eterne,
With less remorse than Pyrrhus' bleeding sword
Now falls on Priam.
Out, out, thou strumpet, Fortune! All you gods,
In general synod take away her power;
Break all the spokes and fellies from her wheel,
And bowl the round nave down the hill of heaven,
As low as to the fiends! (467-496 First Player)
Characterization of Hamlet:
It shall to the barber's, with your beard.
Prithee say on. He's for a jig or a tale of bawdry, or he sleeps. (498-500 Hamlet)
Classical Allusion (The AEneid cont.):
Run barefoot up and down, threatening the flames
With bisson rheum; a clout upon that head
Where late the diadem stood, and for a robe,
About her lank and all o'erteemed loins,
A blanket, in the alarm of fear caught up—
Who this had seen, with tongue in venom steep'd
'Gainst Fortune's state would treason have pronounced.
But if the gods themselves did see her then,
When she saw Pyrrhus make malicious sport
In mincing with his sword her husband's limbs,
The instant burst of clamour that she made
Unless things mortal move them not at all
Would have made milch the burning eyes of heaven
And passion in the gods. (505-518 First Player)
Characterization of First Player:
Look, whether he has not turned his colour, and has
tears in's eyes. (519-520 Polonius)
Plot development:
...We'll hear a play to-morrow. Dost thou hear me, old friend? Can you play ‘The Murder of Gonzago’?

We'll ha't tomorrow night. You could, for a need, study a speech of some dozen or sixteen lines which I would set down and insert in't, could you not?
(524-537, 539-542 Hamlet)
Anger (581-588)
Bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless villain!
O, vengeance!
Why, what an ass am I! This is most brave,
That I, the son of a dear father murder'd,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words(580)
And fall a-cursing like a very drab,
A scullion! Fie upon't! Foh!
Why, what an ass am I! (584 Hamlet)
Hum, I have heard
That guilty creatures, sitting at a play,
Have by the very cunning of the scene
Been struck so to the soul that presently
They have proclaim'd their malefactions;
For murder, though it have no tongue, will speak
With most miraculous organ, I'll have these players
Play something like the murder of my father
Before mine uncle. I'll observe his looks;
I'll tent him to the quick. If he but blench,
I know my course. The spirit that I have seen
May be a devil; and the devil hath power
T' assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me. I'll have grounds
More relative than this. The play's the thing
Wherein I'll catch the conscience of the King. (588-607)
For murder, though it have no tongue, will speak (595)
...I'll have grounds
More relative than this. The play's the thing
Wherein I'll catch the conscience of the King. (605-607)
Characterization of Hamlet:
1. re-introduce King, Queen, Rosencrantz, and Guildenstern
2. show outcome of King's previous order, learn new information on Hamlet's "madness"
Dramatic Significance:
Characterization of Claudius:
Get from him why he puts on this confusion,... (2 Claudius)
Characterization of Queen:
Did he receive you well? (10)
Did you assay him
To any pastime? (15)
Characterization of Rosencrantz:
Niggard of question, but of our demands
Most free in his reply. (13-15)
Act 2 Scene ii (l 254-607), Act 3 scene i (l 1- 18)
By: Ashath, Shivam, Nithursan, Jaideep & Darwin
The End.
Full transcript