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HAMLET .
TH E ACT ION .
A c t 1.
S c ene 1 .
1 . What is the state of m ind o f the soldiers‘
convers-ing in th e first part of the s cene ' Note the irregul a rm ilitary challenge ; the statement,
' I am sick at heart '
the attention to minute sounds .
2 . Was Hora tio a scholar Why was it more fitting
f or a scholar to speak to the ghost '
3 . H OW is the scene contrived so that the ghost shouldcome upon them unawares
4 . What explana tions in this scene regarding the ex-isting state o f affairs in Denmark
5 . What light has been thrown on certain persons ofthe drama
Sc ene 2 .
6 . Comment on the king’s speech . 'ormal ' Pedan-
tic Maj estic Strained
2 H AMLET. [A CT 1.
7. The probable causes of Hamlet’s grief, death of
his father premonitions of foul play
8 . Examples o f Hamlet’s irony ' Thrift,thrift
,
Horatio,
' etc .
9 . Why does Horatio start so su ddenly‘
wh enH amletsays
,I think I see my father '
10 . No te the first o f a series o f events that tend to
confirm Hamlet’s suspicion of foul play .
Sc ene 3 .
11 . What Opinion does Laertes hold o f Hamlet 'How does it differ from the opinion held by Polonius
12. In the speeches o f Ophelia, po int ou t the utter-
ances that are creditable to her ; also those that are lesscreditable . See III . 1 .
13 . How are we to understand the character o f P 0 10 -
nius ' A personage developed for his ownsake ' A
merely decorative figure ' His shallowness a foil toHamlet’s deep nature '
Sc ene s 4- and 5 .
14. What natural touches are to be observed in theOpening lines Com pare 'u liu s Caesa r , II . 1 . 101
,
' Herelies the east : doth not the day break here ‘7
15 . Ham let’s cast of mind as portrayed in the scenecriticising the king’s revels .
A CT 11. TH E ACTI ON . 3f
16 . Does Hamlet’s deportment here indicate irresolu -
tion '
17. Point ou t the elements that start the action
revelations m ade by the ghost .
18 . Explain Hamlet’s position and th e tasks imposedonhim after the interview with the ghost .
19 . What length o f time is covered by the first act
A ct II.
Sc ene 1 .
20 . What facts tend to establish the length o f timethat has elapsed between A cts I . and II .
21 . T h e twofold purpose o f Scene 1 . Its mood is dif-
f erent from that o f the preceding act. Indications of
the time that has passed .
22. What new phase of Polonius’s chara cter is brought
ou t in his instructions to Reynaldo
23 . In the line,' And then
,sir
,does he this he
does—wh a t was I about to say has Polonius really
lost his cue If not,why does he make pretence
24 . Comm ent onthe code o f honor given by Polonius .Is it true o f the time o f Elizabeth ' Does it belong to
the era o f the Danish prince
25 . Is Polonius’s explanation o f Hamlet’s attitude
toward Ophelia the correct one
‘
4 H AMLET. [A c'
r II . 2 .
Sc ene 2 .
26 . A ll the personages, with two exceptions, seem toho ld that Ham let’s m adness is real . The diff erentreasons o f th e king and Ho ra tio respectively f o r dis-
crediting this opinion .
27. Show the dif f erent purposes which the followingcharacters propose to themselves in this scene : the king
and queen,Po lonius
,Hamlet .
28. Comment on the procedure o f each to gain h isend .
29 . Why can we consider Hamlet’s remarks to Horatioas aff ording the m ost reliable testimony regarding the
prince’s sanity See also I . 5 . 171 ci seq.
3 0 . Does Ham let u nderstand the character o f P 0 10 -
nius Quote from their conversation .
3 1 . Was the prince entirely discreet in his admissionto his friends H e \ says,
' I cannot reason ;' and ' I am
but m a d etc .
3 2. In what new light does th e vanity o f Polonius
appear ' Note his observations abou t players and thedrama .
k
the part written by Hamlet f or the players,
is Hamlet portrayed so f a r ' Revengef ul '
Speculative Irresolute
A CT 111. M .) TH E ACTI ON . 5
3 5 . In the fina li
soliloqu y, show what part o f h is self -
portrayal is true and what part f alse.
A ct III.
Sc ene 1 .
3 6 . What does th e king think about the nature o f
Hamlet’s lunacy
3 7. Why does Ophelia’s reading cause Polonius tospeak about ' devotion’s visage and pious action ' '
3 8.During the interview it will be seen th at Hamlet’sdemeanor toward Ophelia changes. Discuss th e cause
o f this : suspects her o f playing the part o f a decoy ; his
remarks intended for the eavesdroppers rather than for
her ; his cruel words directed toward her sex rather than
any individu al .
3 9 . In what way have the theories held respectivelyby the king and Polonius been altered during the conver-
sation they have overheard
Sc ene 2 .
40 . Discuss Hamlet’s directions to the players . Thepoet has here entrusted part o f his professional creed to
H amlet . In view o f this,what im pression did the poet
intend to convey as to the prince’s sanity
41 . Does any remark o f Hamlet Show whether h e isnow convinced o f the king’s guilt
6 H AMLET. [A CT 111. 3 .
42 . Does the proof here given in any manner alter theprince’s conduct
43 . Has the prince now any good reason for delaying
his plans o f revenge
44 . Why does Polonius assent to everything in his last
conversation with Hamlet
Sc ene 3 .
45 . A re the means adopted by the king to get rid o f
Ham let in keeping with the character o f the king asit has been revealed thus far ' Secret
,underhanded
tactics o f espionage .
46 . Where and by whom is the first suggestion m ade
that Polonius shou ld play eavesdropper at the proposed
interview between the prince and his mother
47. A fter having seen the king at prayer,can there be
any reasonable doubt in Hamlet’s mind about the king’s
guilt
48 . Instances of ' dramatic hedging in the king’sm ono logue:—- Though steeped in guilt
,his m oral nature
does not succumb without a struggle . '
49 . Discuss Hamlet’s alleged reasons for postponingth e act o f vengeance .
50 . Show how this scene serves to reveal the centralweakness in the prince’s character.
8 HAMLET . [A CT IV.
61 . Does the queen’s report to the king show whether
she wishes to pallia te the offence o f her son
62 . In the king’s speeches, what evidence is there thathe is chie'y concerned about his ownsafety
Sc ene 2 .
63 . What is implied in th e epithet ' sponge,in th e
conversation between Ham let and Rosencrantz ‘7
64 . What evidence is here given that Hamlet acts in
an assumed character
65 . A t this stage the rapidity o f the action is in-creased . Show how this part of the play is m anaged soas to give it a more rapid movement .
Sc ene 3 .
66 . A ccording to the king, Hamlet was ' loved o f the
distracted multitude.' What traits in him would be aptto make him a favorite with the people
67. Show h ow the king’s actions and plans still accordwith his character o f cunning and craftiness .
68. Does Hamlet divine th e king’s true purpose insending him to England
69 . Does the play appear any nearer to a decisiveissue at the end o f this scene
A CT IV. TH E ACTI O N . 9
Sc ene 4 .
70 . T o what previous scene does the event here re-
counted point back
71 . Show hOw the character o f Hamlet is here con-tra sted with th at o f Fortinbras .
72 . Which o f the preceding soliloquies does the onehere given most closely resemble
Sc ene 5 .
73 . The cause or causes that had unbalanced th e
mind Of Ophelia.
74 . The progress o f the Nemesis action againstClaudius .
75. What dramatic purpose is served by the impetuous
conduct o f Laertes
76 . Note Hamlet’s character as contrasted with that O f
Laertes
7 7. How is th e coming of Laertes m ade to appear
expected and natural '
Sc ene 6 .
78. What caused the king’s plans against the life o f
the prince to fail '
79 . Does this scene promise to hasten or to retard the
catastrophe
80 . The real purpose o f this scene .
10 H AMLET . [A CT Iv . 7.
Sc ene 7 .
81 . Explain the time scheme of Scenes 5, 6, and 7.
82 . Discuss the means and arguments used by theking to appease Laertes .
83 . Prior to the arrival o f the m essenger, what coursedoes the king evidently intend to hold against Laertes
84. What difference in the eff ect produced ontheking and Laertes by the news o f Hamlet’s arrival85 . Indicate the place in the dialogue where the king
first conceives a new course o f action .
86 . What act of Laertes tends to change ou r good
Opinion o f him
87. What. tragic occurrences have so f a r taken place
88. What fitness is there in presenting the mental
aberration and the death o f Ophelia in a poetic light '
89 . What is the purpose of this scene ' Its ef f ect onthe movement of the story
90 . Is any new side o f Hamlet brought ou t in his con-versation with Horatio
12 HAMLE T .
102 . Is the final act o f vengeance a consum mation o f
plans deliberately laid
103 . What glimpses o f restored order and harmonyare given '
THE CHARACTERS .
C la u d iu s .
104 . S imilarities and contrasts between Claudius and
Macbeth . In contrast with the rude and heedless forceO f Macbeth
,show the many respects in which the nature
o f the Danish king is entirely different . His true char-
acter may,in a measure
,be determined by his
(a ) Cho ice o f instruments in ca rrying out his designspoison instead o f dagger:
(b) Overtures o f peace ; reconciliation with the king o f
Norway .
(0) Cautious tactics against the prince.
(d) Evident desire o f enj oying his ill-gottenpossessionsin peace .
(6) Revels and drunkenness, I . 4.
( f ) Crafty villainy as evidenced by h is plot to haveHamlet slain in England
,V . 2 . 24. Further
instances of like designs,V . 7.
' ielding to the dem ands o f Laertes and employingevery m eans to pacify his anger.
TH E CHA RA CTER S . 13
105 . Character as illustrated by his attempts at pray-
ing,III . 3 . He is to ssed between im po tent rem orse and
anuncontrollable desire to retain and enjoy the fruits o fhis crim e . Note the bit of weak self -deceptionin hisconcluding words
,A ll may be well .'
106 . The king’s Speeches, particularly the form al man-
ner of his m ono logue,I . 2 . Hamlet’s description of
him . His conduct toward the queen,the prince
,Polo-
nius,Laertes.
T h e Q u e en.
107 . Refer to the play for illustrations, showing
whether the queen is dom inated by am bition,hate
,o r
love . Is the cause o f her fa ll either of these passions o ra moral nature m ade lax by the luxurious and eff eminatecustom s at court '
108 . The queen’s complicity in the crimes committed
by the king,I . 5 ; III . 2 . 113 ; III . 4 . 3 0 .
109 . Her maternal love for Hamlet probably not en-tirely extinguished, III . 4 ; IV. 1 . 27 ; IV. 7. 11 et seq .
V . 1 . 267.
P o loniu s .
110 . In wh at sense can Polonius be considered a fo il
to Hamlet The experience of Po lonius and his knowl-
edge o f court craft do not save him from being u nm asked
by the superior intellect o f Ham let,II . 2 ; III . 2 . His
' copy book ' maxim s (I . 3 ) in contrast with the pro-
found speculations of the prince.
14 HAMLET .
111 . Discussion o f how the character O f Poloniu s
should be acted ; the manner o f his utterances,voice
,
walk,bearing
,gestures .
112 . Passages where the sententious uttera nces o f
Polonius become irony when applied to the old courtier
himself.
113 . Can any distinction be drawn between Rosen-
crantz and Guildenstern as to their m oral and inte llectualworth These figures are developed only so far as the
exigencies of the play require .
O p h e lia .
114. Her true character . A deep nature or shallowIs she a silent victim Of unostentatious but sincere lovefor Hamlet
,or were her affections crushed by her father
and her brother — these are the questions connectedwith Ophelia .
Her weakness is apparent in III . 1 . She allows her-
self to become an instrument,a decoy in a plot against
her lover ; she acquiesces, plays a part ; she reads aprayer-book and is devout as part o f her rOle .
From another point of view,however
,she is regarded
as a deep,northern nature
,not so im pulsive a s a 'uliet,
bu t no less aff ectionate . She was capable o f inspiring
the prince with love for her . Her early training had
taught her obedience . With a strong sense o f loyalty toher father
,she is led to prevaricate when
,in answer to
Ham let’s question,
' Where is your father ' ' she says,
' At home,my lord
,
' III . 1 . 13 1 . She pathetically sacri-
16 HAMLET .
120 . H ow is the sym pathy and interest which thewho le world shows in Ham let to be accounted f o r ' Itwill be seen that this interest is maintained inspite ofthe fact that his lack o f resolution causes victim after
victim to be sacrificed .
121 . Discuss the following views concerning the char-acter of Ham let and the problem o f the dram a :
(at) A ccording to Ger vinu s, Hamlet is a character be-
longing to m odern society who tries to riseabove the era o f heroic wildness in which he is
cast,where all depends onphysical force and
action,powers which destiny has denied him .
(b) The opinion of Werder is that the problem lies inthe outward difficulties surrounding Ham let .N ot only is the murderer and usurper to bepunished
,bu t th e world is to be given adequate
pro o f of his guilt,tasks which the outward con-
ditions make impossible o f accomplishment .
(c) K reyszig holds that Hamlet is an originally noble
and genia lly endowed spirit,m ade unfit for
action,however
,by one- sided culture and over
refinement . The conditions by w hich he finds
him self surrounded require him to leave his
world O f thought and words and to attem pt a
particularly difficult task, a task entirely out o f
harmony with his own wo rld o f ideas .
(d) The views o f Goethe :'A lovely
,pure
,noble
,and
most moral nature,without the strength o f
nerve which forms a hero,sinks beneath a
TH E S TR U CTU R E. 17
burden which it cannot bear and must not castaway. A ll du ties are holy f or him ; the presentis too hard . Im possibilities have been requiredo f him ; not in them selves impossibilities, butsuch f or him . He winds
'
and turns and to r -
ments himself ; he advances and recoil s ; isever put in mind, ever puts him self in mind ; a tlast do es all but lose his purpose from histhoughts
, yet still without recovering his peace
o f mind.
'
From Lectu res on S h a kesp ea re by Co leridge' Hence we see (in h im ) a great, analmost enor-m ous intellectu al activity
,and a proportionate
aversion to real action,consequent upon it
,with
all its symptom s and accompanying qualities .This character Shakespeare places in circum -
stances under which it is o bliged to act on the
spur Of the mom ent . Hamlet is brave and
careless o f death,but he vacillates from sensi-
bility and procrastinates from thought, and loses
the power o f action in the energy of resolve .
'
T H E ST R UCT U R E .
T h e P lo t .
122. Introduction
(a ) Its tragic tone indicated by the anxiety Of thesoldiers and the appearance o f the ghost . R etro -
spective narrative (Scene revealing the situa -
tion.
18 H AMLET.
The motive elements
(a ) The appearance o f the gh o st ; its revelations to
Hamlet .
(b) Ham let confronted by’
a task particularly difficult
to a nature like his .
Com plicating actions
(a ) Po lonius presents his theory o f Ham let’s m adness .
(b) The prince conceives th e idea o f testing the king’s
guilt by a play .
(c) The opposing faction ; th eir espionage . The king
sceptical regarding the reasons presented for the
prince’s madness .
(O') The play o f A ct III . ; a preparation f or the
The climax
(a ) T heking at prayer ; Hamlet’s hesitation .
(b) T h e first victim of the tragic con'ict .
Resolving actions
(a ) Fortinbras and Hamlet onthe wa y .
(b) Laertes appears and dem ands revenge .
(c) Laertes and the king plot against the life of Hamlet.
(d) Relief a ction— th e grave-diggers .
Catastrophe
(a ) Hamlet’s premonitions o f a fatal issue .
20 HAMLET .
THE HISTOR' .
13 0 . What is known regarding the source Of th e play
13 1 . Inwhat way had the same subj ect been usedbefore the tim e of Shakespeare
13 2 . The Quarto of 1603 ; its probable origin . The
conversation between Ham let and Ho ratio (III . 2) i slacking ; so is also the brief monologue concluding the
scene,and finally
,the meeting of Ham l et and Fortinbras
in IV . 4 .
13 3 . Classification onthe basis of the su bj ect-m a tter .
134. The society portrayed . Does it represent an age
o f rude and untam ed energies like that o f Macbeth Anage of sickly afiecta tionand corrupt manners
13 5 . The story discussed with reference to its depar-
ture from the original narrative of Saxo Gr am m a ticu s .
In the original story as given by Saxo,Hamlet is by no
means the irresolute visionary o f the play . He proceeds
in a direct and resolute m anner . In England he W insthe hand of the king’s daughter . On returning to Den-
mark he finds that he is thought to be dead, and that theking is busy with his funeral ; whereupon he imm ediatelyexacts a bloody revenge on the king and his retainers .He justifies his act to the people, and is proclaim edking . Then he heads an expedition against England,slays the English king
,and finally returns to Denma rk
with two wives,one of whom at last becomes the cause
of his death .
B O OK S O ' R E'EREN CE. 21
BO OK S OF R E 'E R E N CE .
Sh a kespea rianGra m m a r : ' r . E . A . A bbott.
Sh a kspere P r im er : E dwa rd ' owden.
Sh a kespea re ; h is Lif e, A r t, and Ch a ra cters : H . H u dson.
O u tlines of th e Lif e of Sh a kespea re H a lliwell-P h illipps .
History of th e Lif e and Work of Sh a kespea re : G. ' . ' lea y .
Sh a kespea re, th e Man W a lter Ba geh ot (Vol . I . )
A Lif e of Willia m Sh a kespea re S idney Lee .
Introdu ctionto th e Stu dy of Sh a kespea re : Hiram Corson.
Lectu res onSh a kespea re : Bernh a rd tenBrink.
Ch a ra cteristics of English P oets W illiam Minto .
Lectu res onSh a kespea re S . T . Coleridge .
N ew Va riorum Edition: H . H . 'u rness .
T h e Ca m bridge Sh a kespea re : W . A . Wrigh t.
Sh a kespea re Lex icon A . S chm idt.
Sh a kespea re Concordance '. Ba rtlett.
