Hamlet Reacts to Ophelia's' Death
How quick life is. How permanent is the consequence of death that follows it. They made quite the ordeal of your tragic death, publishing stories in the newspaper. A fellow named Seng I believe authored it. He calls you "mentally deranged" (217). Perhaps I may know a thing or two about being mad. So mad, in fact, my dearest Polonius desperately tried to find the causes of my problems. "Mad let us grant him, then: and now remains/ That we find out the cause of this effect," (2.2.100-101). Yet, my madness did not drive me to my death. I am sorry to hear of you this way, Ophelia, but I can do nothing but pity you.
What dreams we had when we were young and innocent, unaffected by the daunting world around us. "I lov'd Ophelia. Forty thousand brothers/ Could not (with all their quantity of love), make up my sum"(5.1.216-217). And even my mother, who herself knows not how to love, could recognize the true nature of our love. She remarked, "I hop'd thou shouldst been my Hamlet's wife"(5.1.91) But I suppose the heavens would not allow it.
And just hopeful and optimistic the future was for us, it quickly turned sour. "The distorted vision of the world that Polonius and Laertes impress on Ophelia in this episode is clearly beginning of her tragedy"(222). It was your father and brother that cast the first stones that led to your demise. It was their attempt at support that ultimately left you unsupported and unhinged. You were all too willing to blindly follow their words and suggestions for you, and as a result, your vision of the truth was distorted beyond repair. As Seng says, "For indeed, she had believed in Hamlet, and, as it turns out, though tragically and too late, her trust was not misplaced"(221). I can not completely blame your family for your downfall, but there is truthfully no others to place the blame. Your brother claimed my love was "A violet in the youth of primy nature"(1.3.7) That it was fragile and would wither away time passed. From your father it was much the same. "Affection! Pooh! you speak like a green girl,/ unsifted in such perilous circumstance"(1.3.101-102). Perhaps in a way, they were correct. I can not claim to love you as unequivocally as I did in the past. I am shocked at how quickly things have changed in Elsinore, a place so beautiful and radiant just a short time ago. But it is different now. You are gone. Your mind lost far before you were proclaimed dead. I wish it could have ended differently for all of us. But I suppose it was never meant to be. Goodbye Ophelia.
Sunday, February 28, 2016
Tuesday, February 23, 2016
Blog #22: Hamlet Act 3
To be or not to be...
Imagery:
"For who would bear the whips and scorns of time"
"The heart-ache and the thousand natural shocks"
These lines of imagery in the soliloquy show the despair and pain that Hamlet is feeling as he lives life. It is apparent to the reader why he could be contemplating something so extreme and against his values as suicide.
Ethos:
"aye, there's the rub"
Hamlet never claims, or even desires to be in a place of power or knowledge. But he does show that he understands the complexities of life, and as a result, death. He knows not of the answers, but he is one who can ask the right questions.
Pathos:
"The pangs of despised love, the law's delay"
Hamlet references his now ruined relationship with with Ophelia as well as "the law's delay". Perhaps a bitterness that Claudius has not been brought to justice for the murder of Hamlet's father. These personal examples remind the reader of the heartbreak and sorrow Hamlet has had to deal with, which has led to his deteriorating mental state.
Logos:
"Whether 'tis nobler in the mind to suffer.. Or to take arms against a sea of troubles"
Hamlet questions the reasoning behind the value that society places on physical strength and bravery. He, on the other hand, contests that the true battle is within one's own mind.
Metaphors:
Hamlet compares the relief of stress and tension that accompanies sleep with the same feeling in death. He also relates death to "The undiscover'd country," a potential sought after place of refuge and safety from the horrors of Denmark.
Infinitive:
The famous "To be or not to be" describes a state of being. People do not simply exist, but must decide how they exist. And further more, what actions to take to accomplish their state of existence.
Opposition:
Action vs. Inaction. Hamlet ponders what his next move should be. He understands the need for action, his promise to kill Claudius. But his own conscience and cowardice have frozen him into inaction. The Ethan Hawke performance of this scene shows the opposition between action and inaction.
Life vs. Death. "To be or not to be." The soliloquy itself is a conversation Hamlet is having with himself on what it means to truly be alive versus being dead. He sees death not as a finality, but as a dream, a place to escape the atrocities in life.
Conclusion:
Hamlet ultimately decides on action. Not the action to commit suicide, but rather the action to go forth with the murder of Claudius, revenge for his father's own murder. He rejects his own past cowardice and decides to proceed with his very dangerous future actions.
Surprising and non-traditional. Certainly there are many adjectives that could describe Ethan Hawke's performance of Hamlet's (and perhaps Shakespeare's) most famous soliloquy. When imagining a live action performance of this literary monolith, a man in a beanie hat walking around a Blockbuster video store is most likely not what anyone would imagine. Yet, Hawke's performance contains many, nearly undetectable details that, taken as a whole, shed a new light onto the story of Hamlet. Contained within this movie scene is a large theme of Hamlet's soliloquy and of the play as a whole. That theme being the battle between action and inaction. The soliloquy itself is comprised of Hamlet contemplating between action (committing suicide) or inaction (continue living in his nightmarish world). In the movie scene, action is implied in many ways: through the action movie being played on the televisions in the background as well as Ethan Hawke's character simply walking through the action aisle of Blockbuster. But, of course, inaction pervades the scene as well. This is shown through Hawke as throughout the entire soliloquy, he does not interact with anything or anyone. In fact, there is nobody else in Blockbuster for him to interact with. So, despite the ambience of action imagery in the scene, the fact is that the environment is actually quite inactive. This opposition is the reason why Ethan Hawke's performance of Hamlet's "To be or not to be" soliloquy is so well done, despite the unorthodox approach it takes.
Comparing the other two performances, I believe Kenneth Branagh's rendition clearly outshines that of Laurence Olivier. Like Hawke, Branagh's performance of the soliloquy demonstrates a clear and distinct message. This time, it is a message of self reflection and questioning. However, it seems to lack the depth and detail that Hawke's version is able to incorporate. Olivier's rendition, on the hand, is quite a bit more superficial and basic than either of the other two. Most of the time, the camera is focused simply on Hamlet's full body, with him speaking into the camera. Alas, much of this criticism can likely be tied to the technological limitations regarding cinematography in the 1940s. With that being said, it is clear Olivier's work does not stand the test of time, as both Hawke and Branagh transcend the oldest version with more in depth, insightful works.
Imagery:
"For who would bear the whips and scorns of time"
"The heart-ache and the thousand natural shocks"
These lines of imagery in the soliloquy show the despair and pain that Hamlet is feeling as he lives life. It is apparent to the reader why he could be contemplating something so extreme and against his values as suicide.
Ethos:
"aye, there's the rub"
Hamlet never claims, or even desires to be in a place of power or knowledge. But he does show that he understands the complexities of life, and as a result, death. He knows not of the answers, but he is one who can ask the right questions.
Pathos:
"The pangs of despised love, the law's delay"
Hamlet references his now ruined relationship with with Ophelia as well as "the law's delay". Perhaps a bitterness that Claudius has not been brought to justice for the murder of Hamlet's father. These personal examples remind the reader of the heartbreak and sorrow Hamlet has had to deal with, which has led to his deteriorating mental state.
Logos:
"Whether 'tis nobler in the mind to suffer.. Or to take arms against a sea of troubles"
Hamlet questions the reasoning behind the value that society places on physical strength and bravery. He, on the other hand, contests that the true battle is within one's own mind.
Metaphors:
Hamlet compares the relief of stress and tension that accompanies sleep with the same feeling in death. He also relates death to "The undiscover'd country," a potential sought after place of refuge and safety from the horrors of Denmark.
Infinitive:
The famous "To be or not to be" describes a state of being. People do not simply exist, but must decide how they exist. And further more, what actions to take to accomplish their state of existence.
Opposition:
Action vs. Inaction. Hamlet ponders what his next move should be. He understands the need for action, his promise to kill Claudius. But his own conscience and cowardice have frozen him into inaction. The Ethan Hawke performance of this scene shows the opposition between action and inaction.
Life vs. Death. "To be or not to be." The soliloquy itself is a conversation Hamlet is having with himself on what it means to truly be alive versus being dead. He sees death not as a finality, but as a dream, a place to escape the atrocities in life.
Conclusion:
Hamlet ultimately decides on action. Not the action to commit suicide, but rather the action to go forth with the murder of Claudius, revenge for his father's own murder. He rejects his own past cowardice and decides to proceed with his very dangerous future actions.
Comparing the other two performances, I believe Kenneth Branagh's rendition clearly outshines that of Laurence Olivier. Like Hawke, Branagh's performance of the soliloquy demonstrates a clear and distinct message. This time, it is a message of self reflection and questioning. However, it seems to lack the depth and detail that Hawke's version is able to incorporate. Olivier's rendition, on the hand, is quite a bit more superficial and basic than either of the other two. Most of the time, the camera is focused simply on Hamlet's full body, with him speaking into the camera. Alas, much of this criticism can likely be tied to the technological limitations regarding cinematography in the 1940s. With that being said, it is clear Olivier's work does not stand the test of time, as both Hawke and Branagh transcend the oldest version with more in depth, insightful works.
Sunday, February 21, 2016
Blog #21: Hamlet Act 2
Hamlet contemplates the film "Gladiator"
Are you not entertained?
A king murdered. A tyrant replaces him. A man, with his life ripped apart, set on revenge. Is this my story? Certainly there is no arguing the parallels between myself and of Maximus in the movie "Gladiator". Tales as such have always been a fancy of mine, for example, "The rugged Pyrrhus" (2.2.387) of Troy. I suppose it is because of my situation, left to dry in the wake of my father's death (and perhaps murder).
Following the murder of the emperor of Rome, Maximus is banished from his position from army general to slave. It is somewhat unfortunate, but I can relate to his experience, "O, what a rogue and peasant slave am I!" (2.2.474-475). And just like our old hero Maximus, I too must fight back against those who have betrayed me, from my uncle and mother to my former true love, Ophelia.
Yet, Maximus is military man. He is a man of considerable strength and brutality. Traits of which I do not possess. But I do, as I believe, one up our honorable Maximus. For as opposed to a sword, I wield my words to bend the soul. Alas this characteristic of mine may hath become my greatest weakness. "I have of late--but/ wherefore I know not--lost all my mirth" (1.2.271-272).
On top of that, I shall have my revenge more subtly than Maximus does. For it is not harm to the body that defines my payback to mine uncle, but rather spiritually. There is no thing more invaluable to me than the theatre. Theatre is the place where our emotions can not simply be hidden by monarchial pomp. The truth of my father's death will be revealed to all in the true emotions our new king has in reaction to this performance. "For murder, though it have no tongue, will speak/ With most miraculous organ" (2.2.521-522). And that's, in fact, where our scene will be set. Where the king's secret will become known throughout the kingdom. "the play's the thing/ Wherein I'll catch the conscience of the king" (2.2.532-533).
Great power does not arise from physical prowess alone. For power is exerted when one is able to tame the world that contains them. My dear uncle may believe he holds power as the enshrined king of Denmark, but the truth is, he has no clue that my father gifted power to the throne, not the other way around.
Following the murder of the emperor of Rome, Maximus is banished from his position from army general to slave. It is somewhat unfortunate, but I can relate to his experience, "O, what a rogue and peasant slave am I!" (2.2.474-475). And just like our old hero Maximus, I too must fight back against those who have betrayed me, from my uncle and mother to my former true love, Ophelia.
Yet, Maximus is military man. He is a man of considerable strength and brutality. Traits of which I do not possess. But I do, as I believe, one up our honorable Maximus. For as opposed to a sword, I wield my words to bend the soul. Alas this characteristic of mine may hath become my greatest weakness. "I have of late--but/ wherefore I know not--lost all my mirth" (1.2.271-272).
On top of that, I shall have my revenge more subtly than Maximus does. For it is not harm to the body that defines my payback to mine uncle, but rather spiritually. There is no thing more invaluable to me than the theatre. Theatre is the place where our emotions can not simply be hidden by monarchial pomp. The truth of my father's death will be revealed to all in the true emotions our new king has in reaction to this performance. "For murder, though it have no tongue, will speak/ With most miraculous organ" (2.2.521-522). And that's, in fact, where our scene will be set. Where the king's secret will become known throughout the kingdom. "the play's the thing/ Wherein I'll catch the conscience of the king" (2.2.532-533).
Great power does not arise from physical prowess alone. For power is exerted when one is able to tame the world that contains them. My dear uncle may believe he holds power as the enshrined king of Denmark, but the truth is, he has no clue that my father gifted power to the throne, not the other way around.
Sunday, February 14, 2016
Blog #20: Hamlet Act 1
From the perspective of Hamlet:
What is it that makes Claudius believe he is worthy of my father's throne? What is it the makes my mother believe she must marry her late husbands brother? Claudius accuses that the clouds of my father's death still hang above me, but "I am too much i' the sun" (1.2.67). Perhaps Claudius, you are the clouds that obscure the true king's son. But really, how could I not be mourning my father's death? "the funeral baked meats Did coldly furnish forth the marriage tables"(1.2. 181). If they were so eager to participate in horrid incest, could they have at least waited until the black of mourning grew lighter? And what of my mother Gertrude? Why does she desire to marry Claudius, and so soon after her late husband's death? Where is her dignity in being the queen of a nation?"Frailty, thy name is woman!" (1.2.146). Alas, I love my mother dearly, and could not truly wish ill will towards her. For when she asked me to stay home instead of traveling back to Wittenberg, I could only wish to respond with, "I shall in all my best obey you, madam" (1.2.120). It frustrates me so that I have no say in the dealings of the monarchy, despite it all occurring in my own household. "But break, my heart; for I must hold my tongue" (1.2.158).
Tweets from @lil_6god_hamlet:
Yo @KINGclaudius you mad that I respect my father more than I'll ever respect you??? You think I'm in a dark place but the truth is I'm too much in the sun. #favouritesun #favouriteson
@QUEENgertrude you just made a wardrobe change from black to white to transition from my father's funeral to my uncle's wedding #toosoon
@QUEENgertrude did you dislike the name Hamlet so much that you had to marry the first man you laid eyes on #hamletsquad #chillfam
@QUEENgertrude excuse my outburst, you're the queen and my mother #isittoolatenowtosaysorry
I hate to rant but goodness I wish I could actually voice my opinions for once
What is it that makes Claudius believe he is worthy of my father's throne? What is it the makes my mother believe she must marry her late husbands brother? Claudius accuses that the clouds of my father's death still hang above me, but "I am too much i' the sun" (1.2.67). Perhaps Claudius, you are the clouds that obscure the true king's son. But really, how could I not be mourning my father's death? "the funeral baked meats Did coldly furnish forth the marriage tables"(1.2. 181). If they were so eager to participate in horrid incest, could they have at least waited until the black of mourning grew lighter? And what of my mother Gertrude? Why does she desire to marry Claudius, and so soon after her late husband's death? Where is her dignity in being the queen of a nation?"Frailty, thy name is woman!" (1.2.146). Alas, I love my mother dearly, and could not truly wish ill will towards her. For when she asked me to stay home instead of traveling back to Wittenberg, I could only wish to respond with, "I shall in all my best obey you, madam" (1.2.120). It frustrates me so that I have no say in the dealings of the monarchy, despite it all occurring in my own household. "But break, my heart; for I must hold my tongue" (1.2.158).
Tweets from @lil_6god_hamlet:
Yo @KINGclaudius you mad that I respect my father more than I'll ever respect you??? You think I'm in a dark place but the truth is I'm too much in the sun. #favouritesun #favouriteson
@QUEENgertrude you just made a wardrobe change from black to white to transition from my father's funeral to my uncle's wedding #toosoon
@QUEENgertrude did you dislike the name Hamlet so much that you had to marry the first man you laid eyes on #hamletsquad #chillfam
@QUEENgertrude excuse my outburst, you're the queen and my mother #isittoolatenowtosaysorry
I hate to rant but goodness I wish I could actually voice my opinions for once
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