Performance Choices from p. 744 lines 111-132

As Hamlet, on page 744, I acted with a sense of dry and sarcastic humor. The first lines in which Hamlet responds to the calls of Horatio and Marcellus, clearly appear sarcastic. After Marcellus calls for Hamlet with a shout of "Hillo, ho, ho, my lord!" Hamlet returns the call with a mocking response of "Hillo, ho, ho, boy! come, bird, come." Reading Hamlet's first lines with a sense of humor effectively displays Hamlet's absurd mind-set. This absurd mind-set can be explained by the fact that Hamlet had recently spoken to the ghost of his father. Considering the setting and situation of the character proves to be an important element as an actor portrays the character's mental state.

p 833 #3

Appearance Vs. Reality

There are various instances in which elements of appearance do not coincide with elements of reality. These instances are defined by specific language that makes comparisons and describes characters or their situation, in contrast with what is actually show through action rather than language. Shakespeare purposefully uses these instances to indicate certain aspects of dishonesty and deception with characters and what they represent. The motif of Appearance vs. Reality exemplifies many conflicts such as order and chaos, concealing and revealing, honesty and deception, all of which portray themes in the play. Ultimately, behind all conflict in the play lies the base of appearance vs. reality, an essential element which must be considered in discovering a meaning for the play as a whole. 

p. 832 #9, p. 833 #7

832 #9

Hamlet’s soliloquy in Act II scene ii remarkably demonstrates his rational yet slightly deranged mental state. Hamlet begins his soliloquy criticizing his fearful disposition that prevents him from preceding any further with taking revenge for his father’s murder. Hamlet expresses that he must take action but he is not strong enough. Hamlet’s thought process leads him to his intelligent plan to test King Claudius’ and prove his guilt. Hamlet’s soliloquy displays his ability to transition from a state of madness to a rational state of mind, in which he is able to act decisively.

p. 833 #7

A conflict between reason and passion are presented in the play through Hamlet’s interaction with himself and others. This interaction between reason and passion seem to work together to produce results, especially in Hamlet’s soliloquies. Hamlet reveals a great sense of reason in his soliloquies while also expressing his emotions passionately. The passionate sense of expression allows Hamlet to realize his ultimate motives, which in effect lead him to reason out a way to achieve what he is after. In another sense, the conflict between reason and passion are developed by Hamlet’s interaction with Ophelia. Hamlet realizes Ophelia’s abnormal behavior, which he suspects to be caused by her father’s command. Although Hamlet may be passionate about Ophelia, he lets the forces of reason take over to avoid a dangerous situation. Reason and passion conflict with each other in multiple ways that directly affect Hamlet’s course of action and own well-being. 

#7 and #14

#7: Hamlet tells his friends that he is likely to put on a deliberatively “antic disposition.” Hamlet uses his “antic disposition” deliberatively to hide his feelings of grief and anger in front of people he does not trust. In front of his trusted friends, such as Horatio, Hamlet acts normally and openly expresses his anger and dissent from those around him, especially Claudius. Hamlet ultimately tells his companions about his “antic disposition” so that, amongst the company of others, he may act hysterically as a method to hide his true emotions. Sharing this with his companions is necessary so that they are not lead to believe that Hamlet has lost his sanity. Through Hamlet’s “antic disposition” his emotions remain concealed and any suspicion others may have of him are confined.  

#14: When Hamlet says, "why, then, 'tis none to you; for there is nothing either good or bad, but thinking makes it so," he is using his "antic disposition" to partially confuse those around him. Ironically, there is some kind of method to his madness. His statement is used to test Rosencrantz and Guildenstern who he suspects have been sent by the King. Furthermore, Hamlet continues on with his "antic disposion" in the second quotation. He does this to confuse Rosencrantz and Guildenstern just before he reveals that he knows what they are up to. His methodical madness proves to be effective and not just arbitrary outbursts of insignificant expression. 

#4 Laertes and Polonius

Laertes and Polonius object to Hamlet because they feel that he threatens Ophelia’s virtue and cannot be trusted. Laertes and Polonius say that Hamlet might appear to be sincere in expressing his love for Ophelia; However, they point out that his expressions are superficial and that she should be suspicious of his loyalty to her. Laertes speaks to Ophelia of Hamlet’s deceptive nature and commands her to be both alert and critical of Hamlet. Laertes obviously speaks down to Ophelia as an absolute and dominant figure with a commanding superior tone. Laertes’ tone suggests his patriarchal view of society and Ophelia’s obedience to her father supports this view of society. Similarly, Polonius believes that Ophelia’s virtue and status is worthy of a better man than Hamlet and that by being with Hamlet her virtue and status are lowered. Polonius also speaks to Ophelia with the assumption that she will submissively obey his words, further exhibiting the patriarchal society in the play. Laertes and Polonius both object to Hamlet because of a lack of trust and communicate their opinions to Ophelia in a commanding manner. 

Exploiting the Inner Truths

Shakespeare’s play Hamlet emphasizes the vital role that language plays in establishing different types of behavior. Shakespeare explores how characters establish an outward disposition through the language they use in an attempt to hide their true intentions and inner thought. Prominently, Hamlet and King Claudius exemplify the behavior of hiding motivations and fears by acting in an obscure outward manner. While Claudius seems to be generous and always smiling, he truly feels insecure due to his illegitimate acquisition of the throne. For example, King Claudius confronts Hamlet about Hamlet’s ongoing mourning of his father. In appearance, Claudius seems to provide counsel for Hamlet, who suffers over the loss of his father. However, Claudius’ own insecurity and guilt are the hidden reasons why he orders Hamlet to refrain from grieving his father’s murder. And while Hamlet outwardly expresses a sense of hysteria and insanity, his true intentions are to retaliate for his father’s death. Hamlet’s conversations with Horatio, In comparison to his interaction with those he dos not trust best exemplify how his outwardly insane disposition is used to hide his indignation for King Claudius. In Hamlet, different types of language are used to create an appearance of each character’s disposition while concealing malignant truths.

"When the eveing is sperad out against the sky - like a patient etherized upon a table."

T.S. Eliot's landmark peom "The love Song of J. Alfred Prufrock" connects old world traditions with the complexities of a modernist society. Eliot often uses complex and even seemingly contradictory ideas in the workings of his poem; however, when closely examined, a coherent message can be identified. The line near the beggining of the first stanza, "When the evening spread out against the sky- like a patient etherized upon a table" exemplifies the character of Eliots writing. The line demonstrates the complexity between nature and modern society. Nature, a prominent element of traditional poetry, is compared with modern civilization represented by the description of the “etherized” patient . Although a juxtaposition exists with nature and modern civilization the line is clearly intended to make a comparison between the two. In connecting nature as a representation of traditional poetry with “a patient ehterized upon a table” a combonation of traditional style poetry and modernist poetry is formed as a common element of Eliot’s style. Furthermore, the purpose of this message may be to communicate that society has lost touch with nature; however, there is inherently a compatablility between the two.  

To His Coy Mistress Mini Essay

            Marvell’s poem, Coy Mistress, explores many poetic devices as essential elements in defining the central theme. Specifically, hyperbole and personification are used in conjunction to portray tonal shifts which are necessary in identifying the poem with the Latin phrase Carpe Diem.

            Hyperbole attributes to the quixotic realm that the first stanza so vividly describes. The first stanza of the poem stands to proclaim the narrators love for the mistress through a description of how he would court her in the absence of time. Hyperbole serves to intensify the romantic value of the narrator’s message and establish an affectionate tone despite the falsity of the circumstance intimated in the first line. The narrator proclaims that he would spend an “age” to adore each part of the mistress  “And the last age should show [her] heart.” This magnificent proclamation culminates the romantic setting depicted in the first stanza and sets up the introduction to the second stanza’s less pleasant concerns. Departing from the dreamland described in the first stanza, stanza two presents a new disposition. The poem’s introduction to reality in stanza two establishes an immediate and firm tone that is harsh and threatening. The narrator effectively and succinctly creates a tonal shift in the first line of the second stanza with a personification of time stating “But at my back I always hear- Time’s winged chariot hurrying near.” The introduction of time presents a mood of urgency which is to be carried out for the rest of the poem. This shift in tone from stanza one to stanza two is most prominently because it plays the largest role in identifying the poem with the theme of Carpe Diem. Furthermore, literary devices prove to be the backbone upon which the theme of Carpe Diem is established.            

To His Coy Mistress

The line that stands out to me the most in the poem is "But at my back I always hear - time's winged chariot hurrying near." The line is not only packed with effective literary devices but also serves a pivotal role in the progression of the poem. This line stands as one of the two main transitional points in the poem, in which the tone shifts and the message from the narrator diverges onto a new path. Specifically, this line signifies the shift to a warning and partially threatening tone where the narrator explains the ultimate consequence of his mistress's coyness. The author obviously put a lot of effort behind this particular line to make it noticiable, as it is among the top three most important lines in the poem. Some techniques Marvell uses are personification and allusion: Time is personified as the driver of Apolo's Chariot. Furthermore, this line the in the poem caught my attention each time I read the poem. This leads me to believe that the Author purposely made this line especially noticable so the people could better under stand his poem.

DW Harding Assignment: Is Collins a Nightmare or a Comic

While Mr. Collins' proposal is initially made out to be a "comic effect", later implications of his proposal based around Elizabeth and Mrs. Bennet arise. Harding discusses how Austen intends for Mr. Collins' proposal to be a "comic effect" and then also addresses in his argument that "[Mr. Collins] is real enough to Mrs. Bennet; and she is real enough to Elizabeth to create a situation of real miser for her when she refuses." I would agree that while Mr. Collins' proposal may be one of Austen's mockeries of society, it is clearly made out to be a danger for Elizabeth. Herein, lies the Collins' role as a Nightmare, specifically, to Elizabeth. Not only does Collins' proposal create problems for Elizabeth but it also evokes a clash between Mr. and Mrs. Bennet who fight over how Elizabeth should deal with Mr. Collins' proposal. Although initially Mr. Collins and his proposal can be classified as a comic effect, his most significant role as a character in the novel is the "Nightmare" he creates for Elizabeth.