HAMLETHAMLET““= a grand poetical puzzle”; “It is = a grand poetical puzzle”; “It is easy to invent with plausibility easy to invent with plausibility almost any theory respecting almost any theory respecting [[HamletHamlet], but very hard to make ], but very hard to make any theory comprehend the whole any theory comprehend the whole subject”subject”

SOURCESSOURCES

Saxo Grammaticus’s Saxo Grammaticus’s Historica Danica Historica Danica [12c. different plot – at the end, [12c. different plot – at the end, Hamlet gets all courtiers drunk and Hamlet gets all courtiers drunk and then sets fire to the palace killing the then sets fire to the palace killing the King]King]

Histories TragiqueHistories Tragique Thomas Kyd “Ur-Hamlet” [play – Thomas Kyd “Ur-Hamlet” [play –

lacks intellectual probing-ambiguity-lacks intellectual probing-ambiguity-complex characters-superior poetry]complex characters-superior poetry]

VERSIONSVERSIONS William Shakespeare and other authors of his time wrote their William Shakespeare and other authors of his time wrote their

plays for acting companies whose primary purpose was to plays for acting companies whose primary purpose was to stage plays rather than publish them. To print and sell a play in stage plays rather than publish them. To print and sell a play in book form was to give rival acting troupes and theater-goers book form was to give rival acting troupes and theater-goers access to the script, thereby diminishing its potential to profit access to the script, thereby diminishing its potential to profit from stage performances. from stage performances.

QUARTO: first publishing of the plays; paper divided into fourQUARTO: first publishing of the plays; paper divided into four ““BAD” QUARTOS: “ . . . texts are significantly different and often BAD” QUARTOS: “ . . . texts are significantly different and often

shorter than the "good" versions. Shakespeare does not seem to shorter than the "good" versions. Shakespeare does not seem to have taken any interest in the publication of his plays, and it has have taken any interest in the publication of his plays, and it has been suggested that these "bad" quartos were pirated by been suggested that these "bad" quartos were pirated by unscrupulous printers, though this is difficult to prove. One theory unscrupulous printers, though this is difficult to prove. One theory is that their texts are extremely corrupt as a result of their is that their texts are extremely corrupt as a result of their reconstruction from memory by a member, or members, of their reconstruction from memory by a member, or members, of their cast. However, all texts of plays at this time contain errors.” cast. However, all texts of plays at this time contain errors.” [Wikipedia][Wikipedia]

FOLIO: second set of publishings; paper divided into 2; there FOLIO: second set of publishings; paper divided into 2; there were 4 folio editionswere 4 folio editions

SUBJECTS OF THE PLAYSUBJECTS OF THE PLAY MadnessMadness RevengeRevenge MoralityMorality InnocenceInnocence FateFate Fathers + sonsFathers + sons Women + femininityWomen + femininity Corruption-disease-decayCorruption-disease-decay TragedyTragedy Free willFree will Multiplicity of selfMultiplicity of self Power structurePower structure State + governmentState + government Action v. thoughtAction v. thought MemoryMemory DeathDeath DuplicityDuplicity

QUESTIONS ABOUT THE PLAYQUESTIONS ABOUT THE PLAY

Why does Hamlet delay?Why does Hamlet delay? Is Hamlet’s madness real or feigned?Is Hamlet’s madness real or feigned? Is Claudius justified in his actions?Is Claudius justified in his actions? Is Gertrude justified in her actions?Is Gertrude justified in her actions? Is Hamlet the central cause of the Is Hamlet the central cause of the

tragedy?tragedy?

DRAMA TERMSDRAMA TERMSAsideAside. A short speech that a character makes in a play. Only the audience hears the . A short speech that a character makes in a play. Only the audience hears the

speech while the rest of the characters are deaf to the words. An aside is speech while the rest of the characters are deaf to the words. An aside is usually a way for the playwright to voice his or her character's thoughts and usually a way for the playwright to voice his or her character's thoughts and feelings. feelings.

While disguised as a mad beggar, Edgar from Shakespeare's While disguised as a mad beggar, Edgar from Shakespeare's King LearKing Lear addresses the addresses the audience unbeknownst to the other characters on stage. audience unbeknownst to the other characters on stage.

Dramatic convention. Dramatic convention. "Any dramatic device which, though it departs from reality, "Any dramatic device which, though it departs from reality, is implicitly accepted by author and audience as a means of representing is implicitly accepted by author and audience as a means of representing reality" (Perrine and Arp 1408).reality" (Perrine and Arp 1408).

In Shakespeare's In Shakespeare's A Midsummer Night's DreamA Midsummer Night's Dream the fairies are accepted as reality. the fairies are accepted as reality.

Dramatic exposition. Dramatic exposition. The explanation of an action of the play before it has been The explanation of an action of the play before it has been enacted, or the explanation of an action offstage, or even information about a enacted, or the explanation of an action offstage, or even information about a character.character.

In the opening of Shakespeare's In the opening of Shakespeare's Romeo and Juliet,Romeo and Juliet, the prologue is a dramatic the prologue is a dramatic exposition. exposition.

Dramatic framework. Dramatic framework. The arrangement of the characters (unrealistic or realistic) The arrangement of the characters (unrealistic or realistic) to promote the theme of the work.to promote the theme of the work.Shakespeare'sShakespeare's King Lear King Lear has an intricate dramatic framework in which the has an intricate dramatic framework in which the characters of the subplot and the main plot are connected to each other. Each characters of the subplot and the main plot are connected to each other. Each plot has a father and his children in conflict with one another. The theme of the plot has a father and his children in conflict with one another. The theme of the plot is directly emphasized by the relationship of the characters to one another. plot is directly emphasized by the relationship of the characters to one another.

DRAMA TERMSDRAMA TERMSHubrisHubris. One of the characteristics of a tragic hero--pride and arrogance.. One of the characteristics of a tragic hero--pride and arrogance.King Lear's hubris is what ultimately strips him of his power. King Lear's hubris is what ultimately strips him of his power.

Humors. Humors. "In medieval physiology, there are four liquids in the human body affecting "In medieval physiology, there are four liquids in the human body affecting behavior. Each humor associates with one of the four elements of nature" (behavior. Each humor associates with one of the four elements of nature" (University of Victoria Writer's

Guide).).a. Blood…air…hot and moist: sanguine, kindly, joyful, amorousa. Blood…air…hot and moist: sanguine, kindly, joyful, amorousb. Phlegm…water…cold and moist: phlegmatic, dull, pale, cowardlyb. Phlegm…water…cold and moist: phlegmatic, dull, pale, cowardlyc. Yellow bile…fire…hot and dry: choleric, angry, impatient, obstinate, vengefulc. Yellow bile…fire…hot and dry: choleric, angry, impatient, obstinate, vengefuld. Black Bile…earth…cold and dry: melancholy, gluttonous, backward, lazy, d. Black Bile…earth…cold and dry: melancholy, gluttonous, backward, lazy, sentimental, contemplative (sentimental, contemplative (University of Victoria Writer's Guide).).Lady Macbeth. "Yet who would have thought / the old man to have had so Lady Macbeth. "Yet who would have thought / the old man to have had so much blood in him" (V.1.44-45). The reference to blood can also imply much blood in him" (V.1.44-45). The reference to blood can also imply Duncan's kind and joyful nature.Duncan's kind and joyful nature.

ObstacleObstacle. . Anything that hinders a character's desires.Anything that hinders a character's desires.Lear wants to give up his kingdom but still retain the title of king in Shakespeare's Lear wants to give up his kingdom but still retain the title of king in Shakespeare's

King LearKing Lear. His obstacle is the greed of his two daughters, Goneril and Regan, . His obstacle is the greed of his two daughters, Goneril and Regan, who intend to take his kingdom for themselves. who intend to take his kingdom for themselves.

Soliloquy.Soliloquy. A soliloquy is a speech in which a character, on stage alone, voices his or A soliloquy is a speech in which a character, on stage alone, voices his or her thoughts or intentions aloud, revealing them to the audience while still her thoughts or intentions aloud, revealing them to the audience while still hiding them from their fellow characters.hiding them from their fellow characters.The famous "To be or not to be" scene in The famous "To be or not to be" scene in HamletHamlet is a soliloquy. is a soliloquy.

DRAMA TERMSDRAMA TERMSTragedy. Tragedy. A type of drama, opposed to comedy, that depicts action that is serious and complete A type of drama, opposed to comedy, that depicts action that is serious and complete

and leads to the downfall and suffering of the protagonist. The protagonist in a tragedy and leads to the downfall and suffering of the protagonist. The protagonist in a tragedy usually has outstanding abilities and unusual moral or intellectual stature.usually has outstanding abilities and unusual moral or intellectual stature.Shakespeare's Shakespeare's King LearKing Lear

Catharsis. Catharsis. Aristotle's term for the emotional experience the audience feels after a tragedy.Aristotle's term for the emotional experience the audience feels after a tragedy.After witnessing a production of Shakespeare's After witnessing a production of Shakespeare's Romeo and JulietRomeo and Juliet, the audience experiences , the audience experiences

catharsis. catharsis. Elements of a tragic hero.Elements of a tragic hero.

a. "The tragic hero is a man of noble stature. He is not an ordinary man but a man with a. "The tragic hero is a man of noble stature. He is not an ordinary man but a man with outstanding quality and greatness about him" (outstanding quality and greatness about him" (Perrine and Arp 1011). 1011).b. "The tragic hero is good, though not perfect" (b. "The tragic hero is good, though not perfect" (Perrine and Arp 1011). His fall is a result 1011). His fall is a result of hamartia.of hamartia.c. "The hero's downfall, therefore, is his own fault, the result of his own free choice--not c. "The hero's downfall, therefore, is his own fault, the result of his own free choice--not the result of pure accident or villainy or some overriding malignant fate" (the result of pure accident or villainy or some overriding malignant fate" (Perrine and Arp 1012). 1012).d. "Nevertheless, the hero's misfortune is not wholly deserved. The punishment exceeds d. "Nevertheless, the hero's misfortune is not wholly deserved. The punishment exceeds the crime. We do not come away from the tragedy with the feeling that 'He got what he the crime. We do not come away from the tragedy with the feeling that 'He got what he had coming to him' but rather with the sad sense of a waste of human potential" (had coming to him' but rather with the sad sense of a waste of human potential" (Perrine and Arp 1012). 1012).e. "Yet the tragic fall is not pure loss. Though it may result in the protagonist's death, it e. "Yet the tragic fall is not pure loss. Though it may result in the protagonist's death, it involves, before his death, some increase in awareness, some gain in self-knowledge" involves, before his death, some increase in awareness, some gain in self-knowledge" (Perrine and Arp 1012).(Perrine and Arp 1012).

Hamartia. Hamartia. Aristotle's word for the cause of a protagonist's misfortunes. These misfortunes are Aristotle's word for the cause of a protagonist's misfortunes. These misfortunes are not caused by character deficiencies but from a "criminal act committed in ignorance of not caused by character deficiencies but from a "criminal act committed in ignorance of some material fact or even for the sake of a greater good" (Perrine and Arp 1010).some material fact or even for the sake of a greater good" (Perrine and Arp 1010).Gloucester's hamartia in Shakespeare's Gloucester's hamartia in Shakespeare's King LearKing Lear is believing Edmund and therefore is believing Edmund and therefore calling for Edgar's life. calling for Edgar's life.

DRAMA TERMSDRAMA TERMSDRAMATIC STRUCTUREDRAMATIC STRUCTURE

ClimaxClimax. The point of highest emotional involvement in the play where it seems as if the action . The point of highest emotional involvement in the play where it seems as if the action reverses direction.reverses direction.

In In Romeo and JulietRomeo and Juliet, the climax occurs when Juliet stabs herself., the climax occurs when Juliet stabs herself.

Denouement.Denouement. The point at which tension slackens after the climax at the end of the play. It can The point at which tension slackens after the climax at the end of the play. It can also be the that portion at the end of the plot that reveals the final outcome of its conflicts also be the that portion at the end of the plot that reveals the final outcome of its conflicts or the solution of its mysteries. or the solution of its mysteries.

In Shakespeare's In Shakespeare's Romeo and JulietRomeo and Juliet, Capulet and Montague realize that they shouldn't have , Capulet and Montague realize that they shouldn't have forbidden Romeo and Juliet to be together. They conclude that they were the cause of the forbidden Romeo and Juliet to be together. They conclude that they were the cause of the deaths of their children. This scene exemplifies denouement. deaths of their children. This scene exemplifies denouement.

Freytag's PyramidFreytag's Pyramid. Aristotle's concept of unity of action, depicted in this diagram. (To see, . Aristotle's concept of unity of action, depicted in this diagram. (To see, click on click on http://www.cnr.edu/home/bmcmanus/freytag.html.) In Freytag's scheme, there are:http://www.cnr.edu/home/bmcmanus/freytag.html.) In Freytag's scheme, there are:

Rising Action. Rising Action. A series of events in a cause-and-effect relationship that may hold the A series of events in a cause-and-effect relationship that may hold the protagonist in an inferior position where his success is doubtful. It might involve multiple protagonist in an inferior position where his success is doubtful. It might involve multiple conflicts such as internal, external, intellectual, and ethical. (In conflicts such as internal, external, intellectual, and ethical. (In King LearKing Lear and other and other Shakespearean tragedies, the rising action occurs in Acts 1 and 2.)Shakespearean tragedies, the rising action occurs in Acts 1 and 2.)

Climax. Climax. In this scheme, the climax occurs when events confirm the tragic fall of the hero. (In In this scheme, the climax occurs when events confirm the tragic fall of the hero. (In King LearKing Lear, Lear's madness on the heath and Gloucester's blinding represent the climaxes , Lear's madness on the heath and Gloucester's blinding represent the climaxes of Act 3.)of Act 3.)

Falling ActionFalling Action. Less intense events and untying of complications. (In . Less intense events and untying of complications. (In King LearKing Lear, the events of , the events of Act 4 and 5.)Act 4 and 5.)

CatastropheCatastrophe. The tragic denouement or unraveling of a play or story--the heap of bodies on the . The tragic denouement or unraveling of a play or story--the heap of bodies on the stage at the end of the play (as instage at the end of the play (as in King Lear King Lear in Act 5). in Act 5).

DRAMA TERMSDRAMA TERMSIntrusionIntrusion. "Something that upsets the status quo, causing or . "Something that upsets the status quo, causing or

releasing forces that compose the play's conflict and progress. releasing forces that compose the play's conflict and progress. When the forces no longer conflict, new statis is achieved and When the forces no longer conflict, new statis is achieved and the play ends" (Ball 24). the play ends" (Ball 24). In every play someone or something comes along to destroy In every play someone or something comes along to destroy the statis. In the statis. In King LearKing Lear, Cordelia refuses to profess her undying , Cordelia refuses to profess her undying love for Lear whereas Goneril and Regan swear they love him love for Lear whereas Goneril and Regan swear they love him more than any creature in the universe. The intrusion is the more than any creature in the universe. The intrusion is the starting bell for the play. starting bell for the play.

StasisStasis. "The status quo that has existed in the play's world through . "The status quo that has existed in the play's world through its beginning" (Ball 24).its beginning" (Ball 24).In In MacbethMacbeth, the setting is Scotland, a long time ago. An , the setting is Scotland, a long time ago. An aristocratic and faithful thane has fortuitously served his king aristocratic and faithful thane has fortuitously served his king and is on his way to be rewarded. The situation is one of safe, and is on his way to be rewarded. The situation is one of safe, cautious stasis. cautious stasis.

UnitiesUnities. Derived by French neoclassicists from Aristotle's . Derived by French neoclassicists from Aristotle's PoeticsPoetics, , this is a theory that a drama should have but one plot, which this is a theory that a drama should have but one plot, which should be performed in one day, and confined to one locale, as should be performed in one day, and confined to one locale, as in in Oedipus RexOedipus Rex by Sophocles. by Sophocles.

SHAKESPEAREAN SHAKESPEAREAN LANGUAGELANGUAGE

Language use today is linear, flat, Language use today is linear, flat, mechanical, media oriented, particularly mechanical, media oriented, particularly regarding computers, no longer regarding computers, no longer primarily interpersonal. In primarily interpersonal. In Shakespeare’s time, language was the Shakespeare’s time, language was the opposite. Full of symbolism, metaphor opposite. Full of symbolism, metaphor and very much set in the art of rhetoric and very much set in the art of rhetoric by which your worth was assessed. This by which your worth was assessed. This type of rhetoric appears in many of type of rhetoric appears in many of today’s advertising campaigns.today’s advertising campaigns.

SHAKESPEAREAN SHAKESPEAREAN LANGUAGELANGUAGE Diction: some words no longer in use [exs. parle = discussion-Diction: some words no longer in use [exs. parle = discussion-

meeting, soft = an exclamation meaning “hold-enough-wait for meeting, soft = an exclamation meaning “hold-enough-wait for minute,” marry = an oath by the Virgin Mary]. Some words are minute,” marry = an oath by the Virgin Mary]. Some words are still in use but hold different meanings [exs. rivals = friends, still still in use but hold different meanings [exs. rivals = friends, still = always, “I doubt some foul play”].= always, “I doubt some foul play”].

Sentence arrangement: shifts from “normal” arrangements to Sentence arrangement: shifts from “normal” arrangements to create rhythm, emphasize words, and give a character speech create rhythm, emphasize words, and give a character speech patternspatterns Subject-verb placement: verb often positioned before the subject Subject-verb placement: verb often positioned before the subject

[ex. “He goes”-“Goes he”][ex. “He goes”-“Goes he”] Object-subject-verb placement: object often positioned before the Object-subject-verb placement: object often positioned before the

subject-verb [ex. “I hit him”-“Him I hit”]subject-verb [ex. “I hit him”-“Him I hit”] Separation of words: words separated that would normally appear Separation of words: words separated that would normally appear

together in order to create rhythm or stress a particular word [ex. together in order to create rhythm or stress a particular word [ex. “When he the ambitious Norway combated” (I.i.72)]“When he the ambitious Norway combated” (I.i.72)]

Delayed construction: rather than separating basic sentence Delayed construction: rather than separating basic sentence elements, they are held back until much subordinate material has elements, they are held back until much subordinate material has been given [ex. Hamlet’s first soliloquy]been given [ex. Hamlet’s first soliloquy]

Elision: omission of words [ex. “Therefore I have entreated him Elision: omission of words [ex. “Therefore I have entreated him long/With us (I.i.31-32)]long/With us (I.i.31-32)]

Pun: play on words based on the similarity of sound between tow Pun: play on words based on the similarity of sound between tow words with different meanings [ex. “Nay, I am too much in the words with different meanings [ex. “Nay, I am too much in the sun”]sun”]

SHAKESPEAREAN SHAKESPEAREAN LANGUAGELANGUAGEPoetic forms:Poetic forms:

Accent or stress: a prominence of utterance Accent or stress: a prominence of utterance given to a particular syllablegiven to a particular syllable

Rhythm: recurrence of accentRhythm: recurrence of accent Meter: pattern-rhythm of accented-Meter: pattern-rhythm of accented-

unaccented syllables in a line of poetryunaccented syllables in a line of poetry Foot: rhythmic unit into which a line of Foot: rhythmic unit into which a line of

metrical verse is dividedmetrical verse is divided Iambic pentameter: main form of Iambic pentameter: main form of

Shakespearean languageShakespearean language 5 feet-10 syllables5 feet-10 syllables Follows the pattern “TA-DUM”Follows the pattern “TA-DUM” Unstressed followed by stressed syllablesUnstressed followed by stressed syllables

SHAKESPEAREAN SHAKESPEAREAN LANGUAGELANGUAGELiterary devices:Literary devices:

MotifMotif MetaphorMetaphor AllusionAllusion ForeshadowForeshadow IronyIrony Double entendreDouble entendre SimileSimile AlliterationAlliteration Parallel constructionParallel construction ParadoxParadox SynechdocheSynechdoche

LENSES: LENSES: HAMLETHAMLETDRAMATIC:DRAMATIC:Central question:Central question: how does Shakespeare how does Shakespeare

use the tools of drama to achieve his use the tools of drama to achieve his central purposes & communicate his central purposes & communicate his central ideas?central ideas?

Structure: arrangement of events-images-Structure: arrangement of events-images-ideasideas

Language: connotation-metaphors-ironiesLanguage: connotation-metaphors-ironiesPoetry: rhythm-meter-rhymePoetry: rhythm-meter-rhymeMeta-theater: actor as human beingMeta-theater: actor as human beingplay within playplay within playplay about playsplay about plays

LENSES : LENSES : HAMLETHAMLETEMOTIONAL: EMOTIONAL: Central question:Central question: how do the various how do the various

emotional states of the characters emotional states of the characters communicate the central ideas of the play & communicate the central ideas of the play & illuminate the human experience?illuminate the human experience?

Characters’ emotional expressions:Characters’ emotional expressions:madnessmadnessmelancholymelancholysensitivitysensitivityguiltguiltpassion-lust-lovepassion-lust-love fearfearfilial bondsfilial bondsangeranger revengerevenge4 humours4 humours

LENSES: LENSES: HAMLETHAMLETPHILOSOPHICAL: PHILOSOPHICAL: Central question:Central question: how does Shakespeare (and his character how does Shakespeare (and his character

creations) explore philosophical theories and truths, and how do creations) explore philosophical theories and truths, and how do these explorations communicate the central ideas of the play & these explorations communicate the central ideas of the play & illuminate the human experience?illuminate the human experience?

Free willFree will Truth v. truthTruth v. truth Nature v. nurtureNature v. nurture Morality: good v. evilMorality: good v. evil Social v. individual responsibilitySocial v. individual responsibility Ambiguity + multiplicity of meaningAmbiguity + multiplicity of meaning Fate + fortuneFate + fortune Existentialism: a philosophy that emphasizes the uniqueness and Existentialism: a philosophy that emphasizes the uniqueness and

isolation of the individual experience in a hostile or indifferent isolation of the individual experience in a hostile or indifferent universe, regards human existence as unexplainable, and universe, regards human existence as unexplainable, and stresses freedom of choice and responsibility for the stresses freedom of choice and responsibility for the consequences of one’s acts.consequences of one’s acts.

Humanism: A system of thought that centers on humans and Humanism: A system of thought that centers on humans and their values, capacities, and worth; the doctrine that people’s their values, capacities, and worth; the doctrine that people’s duty is to promote human welfare; the doctrine emphasizing a duty is to promote human welfare; the doctrine emphasizing a person’s capacity for self-realization through reasonperson’s capacity for self-realization through reason