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poisoning through the ear in hamlet
Hamlet is a drama that tells the story of a bewildered young prince, a thinker who must contend with vengeful impulses riled by his father's ghost and subsequently by the prince's own agonized sensibility to the decorum of revenge. Shakespeare manages to induce Hamlet's sensibilities in many ways, not the least of which is the "poison in the ear" motif that courses the length of the drama. Indeed, in Act 1 Scene 5 Shakespeare introduces the literal act of Claudius pouring poison into the "porches" of old King Hamlet's ear, as related to the prince by old Hamlet's ghost. But the extent to which ear­poisoning plays a role in the play is, at the juncture of Act 1.5, only beginning to take root. Even in Act 1.4, before the truth of King Hamlet's death is ever known or even suggested by the play's action, Shakespeare alludes to the overwhelming power of envenomed sound and poisonous aural suggestion. Likewise in the following 2.1, Shakespeare subtly elaborates on the motif, which, once given its literal form in Act 1.5, is only in its infancy, though by the drama's conclusion it's structurally crucial has been made increasingly apparent. In Act 1.4 the Ghost makes its second appearance in the play, though it is the first time Hamlet has witnessed him. Besides furthering the plot, Act 1.4 also serves as a prelude to the pivotal 1.5 wherein the Ghost reveals to Hamlet the secret that rules the action of the remainder of the play­the murderous deed of Claudius. It is of no surprise, then, that hints and suggestions of the upcoming revelation are worked into the drama. Certainly the audience is aware of some building moment, some approaching revelation that will stagger Hamlet to the core, for when the Ghost beckons Hamlet away from Horatio and Marcellus it can be inferred that he has a message meant specifically, if not solely, for the

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