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Hamlet Packet
For the Hamlet Unit, you will be responsible for several items. Besides reading, you will respond daily
to the progression of the play. For this you will complete daily reading observations, in class active
reading questions, act quotes and act applications.
You will use this packet for the following:
Reading Observations:
On the day of each reading, you are to bring the following:
1) an observation about something from one of the scenes and why you found it interesting
2) a short quote from the text that you found interesting and a brief explanation why (and
yes, you must copy the quote with parenthetical documentation – Act, scene, line –
e.g. I, ii, 25-26)
3) a question you have about what is going on.
4) List of where you see reference to the following motifs
a. GARDENS b. SERPENTS c. DISEASE/DECAY d. DEATH e. HEROISM f. SAVIOR
This reference should include line # and brief commentary about its use
5) List of where you see indications of pathetic fallacy, tragic flaw and/or the 4 complexions
These will be checked off for completion at the beginning of class. Later they will be used as a way
to jump-start class discussions. Use this as an opportunity to clarify anything that you find confusing in
the text before you are forced to move on. This is your chance to impact what we talk about and
how much you personally get out of this unit, so please make the most of it.
Although these will not be fully assessed for quality until the end of the unit, each day’s observation
must be checked off when due in order for it to be assessed at the end of the unit.
Act Active Reading Questions:
Active Reading questions should be completed for the sections read at home each night. They are
HOMEWORK. These will be checked off for completion at the beginning of each class day. NOTE –
Active reading questions are arranged in order by ACT, that does not mean that you will finish all of
an Act’s questions with each night’s reading, since each act has been broken down to cover several
days. It is YOUR RESPONSIBILITY to glean how many you can answer based on the night’s reading.
Although these will not be fully assessed for quality until the end of the unit, questions must be
stamped when due in order for it to be assessed at the end of the unit.
This packet will be turned in and completely assessed on Friday, April 24, 2015.
Act Analysis Questions:
To be done on your own paper. These will be due the day after we have finished reading the
complete Act in class. They are not to be held and submitted with the packet on 04/24/15.
AP English 12 – Ms. Arrowood
Packet Due
Friday,
04/24/15
Name:
Period
Hamlet – March – April 2015 – AP English 12 – Ms. Arrowood 03/13
Shakespeare Intro
HW? Read p. 7-25, Read
Ob & ?s
03/16 03/17 03/18 EARLY RELEASE 03/19 03/20 Check off homework
In Class – read Act I, sc i – ii
(p. 7-25)
HW: read p. 25-49, Read
Ob & ?s
Check off homework
In Class – read Act I, sc ii – iii
(p. 25-49)
HW: read p. 49-69, Read
Ob & ?s
Check off homework
In Class – read Act I, sc iv –
end of Act (p. 49-69)
HW: Begin Analysis ?s
Finish Act I
HW: Start Analysis ?s for
Act I
Possibly Finish Act I
WATCH ACT I
HW: Finish Analysis ?s AND
read p. 73-93, Read Ob &
?s
03/23 03/24 03/25 03/26 03/27 Assembly Sched Turn in Analysis ?s & Check
off homework
In Class – read Act II, sc i –ii
(p. 73-93)
HW: read p. 93-111, Read
Ob & ?s
Check off homework
In Class – read Act II, sc ii
(p. 93-111)
HW: read p. 111-119, Read
Ob & ?s
Check off homework
In Class – read Act II, sc ii –
end Act II (p. 111-119)
HW: Start Analysis ?s for
Act II
WATCH ACT II
HW: Finish Analysis ?s AND
Read p. 123-145, Read Ob
& ?s
Turn in Analysis ?s & Check
off homework
In Class – read Act III, sc i –ii
(p. 123-145)
HW: read p. 145-185, & ALL
Read Ob & ?s for all secs
03/30 SBAC Schedule 03/31 SBAC Schedule 04/01 EARLY RELEASE 04/02 SBAC Schedule 04/03 SBAC Schedule Check off homework
In Class – Read Act III, sc ii –
iv (p145-185)
In Class - Finish Act III (thru
p. 185)
HW: Study Vocab
Vocab V Test
HW: Start Analysis ?s for
Act III
04/06 04/07 04/08 04/09 04/10
WATCH Act III
HW: Analysis ?s for Act III
AND read p.189-205), read
ob & ?s
ALLUSION NTBK #6 DUE
Turn in Analysis ?
Check off reading ob
In Class – read Act IV, sc i -
iv (p. 189-205)
HW: Read p. 205-219, Read
Ob & ?s
Check off homework
In Class – read Act IV, sc v –
end sc v (p. 205-219)
HW: read p. 221-235, Read
Ob & ?s
Check off homework
In Class – read Act IV, sc vi
– end Act IV (p. 221-235)
HW; Read p. 239-251, Read
Ob & ?s
Check off homework
In Class – read Act V, sc i - i
(p. 239-251)
HW: read p. 253-287, Read
Ob & ?s
Hamlet to End of Year – April-June 2015 – AP English 12 – Ms. Arrowood 04/13 04/14 04/15 04/16 04/17
!!!Spring Break!!!
HW: read p. 253-287, Read
Ob & ?s
!!!Spring Break!!!
HW: read p. 253-287, Read
Ob & ?s
!!!Spring Break!!!
HW: read p. 253-287, Read
Ob & ?s
!!!Spring Break!!!
HW: read p. 253-287, Read
Ob & ?s
!!!Spring Break!!!
HW: read p. 253-287, Read
Ob & ?s
04/20 04/21 04/22 04/23 04/24 Check off reading ob
In Class – read Act V, sc ii –
end of play (p. 253-287)
HW: Act VI & V Analysis? &
5-Act Drama triangle
WATCH Act IV & V
HW: Ind Read #4 Essay
Finish Watching Act IV & V
Ind Read #4
RD Edit Day 1
HW: Ind Read #4 Essay
Hamlet AP Practice Multiple
Choice Test
HW: Finish Analysis ?s &
Drama Triangle
Turn in Analysis ?s &
PACKET
Hamlet Free Response
Essay
04/27 SBAC Schedule 04/28 SBAC Schedule 04/29 04/30 SBAC Schedule 05/01 SBAC Schedule
AP Review Short Stories
AP Review Novels
Ind Read #4 DUE
AP Review Drama
AP Review Poetry
05/03 05/04 05/06 Early Release 05/07 05/08
AP Review
AP Review
Breakfast in room 460
AP TEST
Rosencrantz &
Guildenstern…
Rosencrantz &
Guildenstern…
05/11 05/12 05/13 05/14 05/15
Rosencrantz &
Guildenstern…
Rosencrantz &
Guildenstern… Assign Final Project Final Project Work Final Project Work
05/18 05/19 05/20 05/21 05/22
Final Project Work
Final Project Work
Final Project Work
Final Project Work
!!Snow Day – No School!!
05/25 05/26 05/27 05/28 05/29 !!Memorial Day
No School!!
Final Project Work in
Computer Lab
Final Project Work in
Computer Lab
Final Project Presentation
Group #1
Final Project Presentation
Group #2
06/01 06/02 06/03 06/04 Final Project Presentation
Group #3
Final Project Presentation
Group #4
Last Day of Class
!Graduation!
READING OBSERVATIONS On the day of each reading, you are to bring the following:
1. an observation about something from one of the scenes and why you found it interesting
2. a short quote from the text that you found interesting and a brief explanation why (and yes,
you must copy the quote with parenthetical documentation – Act, scene, line – e.g. I, ii, 25-
26)
3. a question you have about what is going on.
These will be checked off at the beginning of class and later used as a way to jump-start class
discussions. Use this as an opportunity to clarify anything that you find confusing in the text before you
are forced to move on. This is your chance to impact what we talk about and how much you personally
get out of this unit, so please make the most of it.
Act I, sc. i – sc. ii, line 63 (p. 25 Polonius) Characters: Barnardo, Francisco, Horatio, Marcellus, King, Cornelius,
Voltemand, Laertes & Polonius
1.
2.
3.
Act I, sc. ii, line 64 (p.25) – sc. iii (end – p. 49) Characters: King, Hamlet, Queen, Horatio, Marcellus, Bernardo, Laertes,
Ophelia, Polonius
1.
2.
3.
READING OBSERVATIONS
Act I, sc. iv (p. 49)– end Act I (p. 69) Characters: Hamlet, Horatio, Marcellus, Ghost
1.
2.
3.
Motifs Seen in Act I
Act I – Pathetic Fallacy, Tragic Flaw and/or 4
complexions
READING OBSERVATIONS
Act II, sc. I (p. 73) – sc. ii, line 182 (p. 93) Characters: Polonius, Reynaldo, Ophelia, Kin, Queen, Rosencrantz,
Guildenstern, Voltemand
1.
2.
3.
READING OBSERVATIONS
Act II, sc. ii, line 184 (p. 93) – sc. ii, line 490 (p. 111) Characters: Queen, Hamlet, Polonius, Rosencrantz, Guildenstern, First
Player (lead actor)
1.
2.
3.
Act II, sc. ii, line 491 (p. 111) – end Act II (p. 119) Characters: Polonius, First Player, Hamlet, Rosencrantz
1.
2.
3.
Motifs Seen in Act II
Act II – Pathetic Fallacy, Tragic Flaw and/or 4
complexions
READING OBSERVATIONS
Act III, sc. I (p. 123) – sc. ii, line 169 (p. 145) Characters: King, Rosencrantz, Guildenstern, Queen, Polonius, Ophelia,
Hamlet, Player, Horatio
1.
2.
3.
Act III, sc. ii, line 170 (p. 145) – sc. ii (end - p.161) Characters: Prologue, Hamlet, Ophelia, Player King, Player Queen,
Queen, King, Lucianus, Polonius, Horatio, Guildenstern, Rosencrantz
1.
2.
3.
READING OBSERVATIONS
Act III, sc. iii (p. 163) – end Act III (p. 185) Characters: King, Guildenstern, Rosencrantz, Polonius, Hamlet, Queen,
Ghost
1.
2.
3.
Motifs Seen in Act III
Act III – Pathetic Fallacy, Tragic Flaw and/or 4
complexions
READING OBSERVATIONS
Act IV, sc. i (p. 189) – sc. iv (end – p. 205) Characters: King, Queen, Hamlet, Rosencrantz, Guildenstern, Fortinbras,
Captain, (Gentlemen – ALL)
1.
2.
3.
READING OBSERVATIONS
Act IV, sc. v (p. 205) – sc. v (end – p. 219) Characters: Queen, Gentleman, Horatio, Ophelia, King, Messenger,
Laertes, ALL
1.
2.
3.
Act IV, sc. vi (p. 221) – end Act IV (p. 235) Characters: Horatio, Gentleman, Sailor, King, Laertes, Messenger, Queen
1.
2.
3.
Motifs Seen in Act IV
Act IV – Pathetic Fallacy, Tragic Flaw and/or 4
complexions
READING OBSERVATIONS
Act V, sc. i (p. 239) – sc. i, line 229 (p. 251) Characters: Gravedigger, Other, Hamlet, Horatio
1.
2.
3.
Act V, sc. i (p. 253) – sc. ii, line 238 (p. 273) Characters: Laertes, Doctor, Hamlet, Queen, King, Horatio, Osric, Lord,
ALL
1.
2.
3.
READING OBSERVATIONS
Act V, sc. ii, line 239 (p. 273 ) – end PLAY (p. 287) Characters: King, Hamlet, Laertes, Osric, Queen, Horatio, Fortinbras,
Ambassador, ALL
1.
2.
3.
Motifs Seen in Act V
Act V – Pathetic Fallacy, Tragic Flaw and/or 4
complexions
End Play – Tragic Reconciliation - Explain
Hamlet
Act I Discussion/In-depth analysis questions
On your OWN paper, thoroughly answer the following questions. All answers MUST BE
HANDWRITTEN!
Scene i
1. As the play opens, what is the mood? Looking closely at the text, what words or
phrases can you find that Shakespeare uses to help set the tone and prepare us for
what's to come?
2. Look at what happens when the ghost appears for the first time. Notice that Horatio
addresses it as "thou." This is the form of address used with friends or inferiors.
Shakespeare's audience would have understood this familiar reference. What is the
effect of Horatio's addressing the ghost as "thou"?
3. What does Horatio suggest by his discussion of Julius Caesar's death? Why does he
choose the example of Rome? (think on several levels – i.e. pathetic fallacy;
symbolism; analogy)
Scene ii
4. From what is seen in I.ii, what kind of a king is Claudius?
5. Hamlet is in stark contrast to the festivity of the coronation. Compare and contrast
the physical, emotional, mental, and spiritual differences between young Hamlet
and Claudius's court.
6. Read Hamlet's first soliloquy carefully. How would you describe the tone of his feelings
detached, impassioned, rational, ironic, or what? Explain.
7. Notice the way Hamlet questions Horatio, Marcellus, and Bernardo. How much do we
know about how his mind works at this point of the play? What does he suspect as
the reason for the ghost's appearance?
Scene iii
8. How seriously can Polonius' precepts, spoken to Laertes, be taken? Especially
consider the last one. (look at the grander scheme of what is going on)
9. How willing is Ophelia to discuss with her father what she has discussed with Laertes?
What is her father’s response to Hamlet's interest in her and her response to him?
10. What do we know about Laertes, Polonius, and Ophelia by the end of 1.3? What sort
of people are they? What sort of family are they? Who is missing from this family? How
strong-willed in Ophelia? Cite specifics.
Scene iv
11. How does Hamlet respond to the ghost? If it is a "damned ghost," is he as safe as he
thinks he is? Why don't the others want him to go? Why can't/don't they stop him?
What does Marcellus still think the nature of the problem is?
Scene v
12. Is Hamlet surprised when he learns who murdered his father? Explain.
13. What are Hamlet and Hamlet – the elder’s, opinion of Claudius? Would others in the
court, NOT knowing about Claudius' crime, see Claudius as this?
14. Read Hamlet's second soliloquy carefully. Notice how quickly Hamlet moves from the
specific (Claudius) to the general ("one"). Compare the same movement he makes
from the specific person Gertrude to "frailty, thy name is woman". Addressing this issue
(specific to general), how can Hamlet be expected to go about his revenge?
Hamlet
Act II Discussion/In-depth analysis questions
On your OWN paper, thoroughly answer the following questions. All answers MUST BE
HANDWRITTEN!!!!
Scene i
1. How much time has passed between Act 1 and Act 2? How do you know? (Keep
watching for evidence.)
2. Does Hamlet's appearance to Ophelia as a madman (a distracted lover) come as
a surprise after what we last heard him say (Act I)? Why/why not?
3. How well has Ophelia obeyed her father's orders in 1.3?
Scene ii
4. Why has Claudius called Rosencrantz and Guildenstern to court? Does Claudius’
intended use of Rosencrantz and Guildenstern reminiscent of Polonius' use for
Reynaldo? Are there any significant differences? If so, what?
5. We've now had several different explanations of Hamlet's madness: love, his
father's death, and that plus the king and queen’s "o'erhasty marriage". Are
people content with these explanations? Why/why not?
6. How does Hamlet behave initially with Rosencrantz and Guildenstern? Is it different
from the way he just acted with Polonius? Does Hamlet change when he realizes
that the two were sent for by Claudius and Gertrude?
7. How seriously should Hamlet's view of the world and of "man" be taken? How do
Rosencrantz and Guildenstern react to Hamlet's use of "generic" man?
8. What is the significance of Hamlet's referring to Polonius as Jephthah? Jephthah's
story is interesting in this context see Judges 11:30-40.
9. How is its style of Hamlet’s recited speech to the player different from that of the
surrounding lines of Hamlet? Why is its subject matter appropriate?
10. Do lines 461-64 echo anything from or about the play Hamlet?
11. When the players arrive, at Hamlet's request they reenact a selection from Aeneas
and Dido. Why this play? How does it echo Hamlet's main storyline.
12. Read Hamlet's third soliloquy carefully. How does he use the player's response to
show how different his own position is? Is the comparison justified by what has
been seen in the play?
13. In his third soliloquy, Hamlet complains that he has not acted on his vengeance.
Why hasn't he? Why does he need the play? What will he learn from it?
14. One of the play's major themes, illusion versus reality, begins to take center stage in
Act 2. Where do you find evidence of this theme being explored? What possible
messages could Shakespeare be trying to convey?
Hamlet
Act III Discussion/In-depth analysis questions
On your OWN paper, thoroughly answer the following questions. All answers MUST BE
HANDWRITTEN!
Scene i
1. Closely examine Hamlet’s most famous “To be or not to be” soliloquy. Summarize the
arguments he is contemplating in this speech. How is this soliloquy different from the
first two? Think about the way Hamlet's mind works within the first two--is the same
thing happening here? What is the main idea of this third soliloquy?
2. After Polonius gives Ophelia something to read to “disguise her intention” what
response does his remark get (in an aside) from Claudius? Why is this speech of
Claudius' important? What do we learn that we have not learned before?
3. Act III has Hamlet saying some very harsh words to Ophelia. Why does he want her
to get to a nunnery? Does he say this out of love or hate or both? Does Hamlet
know that he's being watched? Does he determine that during the scene? Can you
spot a place where he might? (Remember how he changed his way of talking to
Rosencrantz and Guildenstern at 2.2). Who is the "one" referred to in "all but one"
(3.1.)?
4. How does Claudius respond to what he has seen and heard between Ophelia and
Hamlet? How does Polonius respond? Is he willing to give up his "love" answer? Why?
Scene ii
5. What advice does Hamlet have for the actors? Why? Think outside the play, too!!
6. Why does Hamlet say he especially likes Horatio (3.2.)? Does Hamlet see Horatio as
similar to him or different from him?
7. Read Hamlet's fifth soliloquy carefully. How is it different from the other soliloquies?
What is the mood of the soliloquy? What is happening to Hamlet?
Scene iii
8. What does Claudius admit in his attempt to pray? Has the play actually had an
effect on him? Why can't he ask for forgiveness?
9. What happens when Hamlet enters? Why doesn't Hamlet kill Claudius then? What is
ironic about Hamlet's decision?
10. Why does the Ghost appear during Hamlet’s exchange with his mother? How is his
appearance different from his appearances in Act 1? Who saw him then? Who sees
him now? What is his message to Hamlet?
Hamlet
Act IV Discussion/In-depth analysis questions
On your OWN paper, thoroughly answer the following questions. All answers MUST BE
HANDWRITTEN!
Scene i
1. Does Gertrude tell Claudius the truth about what happened between her and
Hamlet? Is she following Hamlet's advice at the end of 3.4?
Scene iii
2. What do Claudius' letters tell England (i.e., the king of England) to do with Hamlet?
Why does Claudius expect to be obeyed? (The situation is more or less historical,
since England was ruled by a Danish king from 1016-1042.)
Scene iv
3. What sort of judgment does the Captain make about the place they are fighting for?
How does Hamlet describe it?
4. Read Hamlet's sixth soliloquy carefully (4.4). What is unusual about it given its position
in the play? Has Hamlet been delaying, as he says? What example does he compare
himself to? (And what other soliloquy does this one remind you of?)
Scene v
5. What do we learn about the state of Gertrude's soul in her aside? What does this say
about how she has responded to Hamlet's accusations and recommendations in 3.4?
6. The court assumes Ophelia's madness is caused by her father's death. Judging from
her songs, are they correct? Is that the only thing that has made her mad? What else
is on her mind and coming to the surface in her madness? Hamlet's questionable
madness is starkly contrasted with Ophelia's real madness in Act 4. Was it necessary
for her to go insane? What elements of the story are enhanced by her madness?
Could the story work without it?
7. What is Laertes' approach to revenging his father's death? How does it compare to
Hamlet's? How much support does he have? Whom does he initially blame?
Scene vi
8. Who brings Hamlet's letter to Horatio? What has happened to Hamlet?
Scene vii
9. What does Hamlet's letter tell Claudius? Why does Hamlet want to see him "alone"?
What seems to be Hamlet's plan?
10. What happened to Ophelia? Did she kill herself, or is her death accidental?
General ?s
11. As Act IV unfolds, Claudius is becoming more and more uncomfortable with having
Hamlet around. When/where is Claudius's fear is beginning to take over? How does
he try to get rid of Hamlet, while continuing to look innocent?
12. Hamlet shows a great deal of wit and cleverness in this act. Where can you find
examples of Hamlet's nimble brain?
Hamlet
Act IV Discussion/In-depth analysis questions
On your OWN paper, thoroughly answer the following questions. All answers MUST BE
HANDWRITTEN!
Scene i
1. Why does this scene begin with two clowns trading jokes? Do their jokes make any
sense in the context of the play?
2. Does Hamlet realize that he might not come out of this fight alive? See V.ii.225-238.
3. What is the outcome of the fight scene at the end?
Scene ii
4. Where do Hamlet and Laertes fight in V.ii?
5. Who is Osric, and why is he included in the play?
6. When Gertrude drinks from the cup, Claudius asks her not to drink and she
refuses. Has she ever disobeyed Claudius before?
7. Why is Fortinbras's presence important?
Hamlet
Act V-End Play Discussion/In-depth analysis questions
On your OWN paper, thoroughly answer the following questions. All answers MUST BE
HANDWRITTEN!
1. Describe Claudius. Is he purely evil, or is he merely a flawed human being? Could the
play also be called The Tragedy of Claudius, King of Denmark?
2. In Act IV, Claudius notes that “sorrows come…in battalions.” By the end of the play
these sorrows include the deaths of all the major characters except Horatio. To what
degree can Claudius be held responsible for all the sorrows of the play? Which
sorrows may be particularly traced to Hamlet?
3. Hamlet is full of conflicts that oppose people to other people, to society and to
themselves. List all the conflicts you can find in the play. Decide which of these is the
central conflict and explain your choice.
4. How does Shakespeare demonstrate that Hamlet is a tragedy of the state as well as
the individual ? Is the condition of Denmark better or worse at the end of the play
than at the beginning?