...Joey Puvel Ophelia’s Madness Despite the difficulty to pinpoint exactly what Shakespeare’s intended personalities for his characters in Hamlet were, Ophelia’s legitimate madness is one trait that isn’t easily proven otherwise. Poor Ophelia is a young girl conditioned to the medieval dogma that her father is the ultimate authority in her life until marriage, while also heavily drawn to her sense of romance characteristic to the Renaissance. Also, Ophelia cannot express herself the way the men around her can, reserving her to a balloon of emotions, which, in addition to being left stranded after the men in her life essentially disappear, bursts into her ultimate insanity. Every person with influence in Ophelia’s life are men: Polonius, her father, Hamlet, her lover, and Laertes, her brother. These are the people who most of the time dictate her decisions for her. In the first scene of the play involving Ophelia, her lines are not many in number or lengthy by any means. This is because Polonius and Laertes spend the bulk of the scene instructing her. Both men discourage her from trusting Hamlet’s love. Laertes says, “His greatness weighed, his will is not his own. For he himself is subject to his birth.” (1.3.1718) Laertes is saying that Hamlet cannot be devoted to her because his focus has to be on Denmark as the heir to the throne. He also tells her to protect her virginity, which is a very authoritative statement and possibly an uncomfortable command to receive from your brother...
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...continuum of possible, emotional interpretation. The successful public voice must then consider the nature of the interpreters themselves, and whether or not they register what is being said to them (even if they misinterpret it completely!) rather than simply dismissing what they hear. If the concept of public voice is to be largely dependent on this feature, this paper then seeks to examine and prove Ophelia’s inability to completely achieve a successful form of public voice throughout the play with the characters that surround her – the majority of whom are male! As mentioned, a public voice may be thought of as necessitating some affect on its audience. Even from Ophelia’s entrance in the play, her various audiences go largely unaffected by the things she voices. When we are introduced to Ophelia in Act I Scene III, her brother Laertes affirms his (negative) stance on Ophelia’s relationship with Hamlet, and tells her almost explicitly how she should behave regarding this relationship with her lover. Appointing himself a rather aggressive role in his sister’s love life, Laertes instructs his sister to “fear” (1.III.32) the advances and desires of Hamlet in hopes...
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...Plot Overview A ghost resembling the recently deceased King of Denmark stalks the ramparts of Elsinore, the royal castle. Terrified guardsmen convince a skeptical nobleman, Horatio, to watch with them. When he sees the ghost, he decides they should tell Hamlet, the dead King's son. Hamlet is also the nephew of the present King, Claudius, who not only assumed his dead brother's crown but also married his widow, Gertrude. Claudius seems an able King, easily handling the threat of the Norwegian Prince Fortinbras. But Hamlet is furious about Gertrude's marriage to Claudius. Hamlet meets the ghost, which claims to be the spirit of his father, murdered by Claudius. Hamlet quickly accepts the ghost's command to seek revenge. Yet Hamlet is uncertain if what the ghost said is true. He delays his revenge and begins to act half-mad, contemplate suicide, and becomes furious at all women. The Lord Chamberlain, Polonius, concludes that Hamlet's behavior comes from lovesickness for Ophelia, Polonius's daughter. Claudius and Gertrude summon two of Hamlet's old friends, Rosencrantz and Guildenstern, to find out what's wrong with him. As Polonius develops a plot to spy on a meeting between Hamlet and Ophelia, Hamlet develops a plot of his own: to have a recently arrived troupe of actors put on a play that resembles Claudius's alleged murder of Old Hamlet, and watch Claudius's reaction. Polonius and Claudius spy on the meeting between Ophelia and Hamlet, during which Hamlet flies into a rage against...
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...demise are their one liking variable. Lady Macbeth is one of Shakespeare’s most famously frightening and powerful female characters. At the start of the play, she is a loving wife to her husband but at the same time very ambitious, as shown by her immediate determination for Macbeth to be king. This outcome will benefit her and her husband equally. She immediately concludes that "the fastest way" for Macbeth to become king is by murdering King Duncan. Furthermore, Lady Macbeth knows her husband well. She thinks he may be too kind in order to murder King Duncan. At first Macbeth agrees but later wavers in his decision, but Lady Macbeth assures him that being king is what he really wants and that this is the best for both of them. So, in response to Macbeth's uncertainty, Lady Macbeth manipulates him by questioning his manhood and his love for her. She is successful because regardless of his own conscience, Macbeth carries out their plan of murder, by himself. The almost superhuman strength Lady Macbeth gains for the occasion and her cunning ability are shown through her meticulous attention to detail regarding the murder. However, though Lady Macbeth seems strong in her initial pursuits, she proves her weakness when she is unable to commit the act herself or deal with the consequences of her actions. Lady Macbeth's immediate thoughts may make her appear as thoroughly irreligiously cold and ambitious, she actually represses her conscience so she can later usher Macbeth into committing...
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...(lines 30 – 40) and his sons (lines 75 – 79) play a role in the plot? When were these ideas used before? 10. What means does Shakespeare use to raise suspense during the graveyard scene? 11. What does the gravedigger’s mention of King Hamlet in lines 141 - 143 reveal to the audience? How is this important here? 12. Does it contradict information we have had previously? Why do you think Shakespeare has done this? Thoughts about Yorick , life and death 172 – 213 13. Find the hyperboles in Hamlet’s speech, and explain why he uses them. 14. Identify the misogynistic lines. Who is he talking about? 15. In what ways do Hamlet’s reactions to the skulls in the graveyard seem to suggest a change in his outlook? 16. What famous warriors does Hamlet refer to? How is this important in the next scene and why? What is used in the text to back this up? Ophelia’s funeral procession 214 – the end 17. What do we find out about the funeral procession from Hamlet in lines 213a-218? 18. How does Laertes reveal his discontent with the priest? And Hamlet who is...
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...common within our own changing modern society. Shakespeare’s uncertainty and concern about the relationships between men and women remains relevant today, allowing me to empathise with the female characters, Gertrude and Ophelia. Though society’s treatment of women has improved, some inequality still remains, enabling us as modern responders to understand Shakespeare’s portrayal of women’s experiences and their loyalty towards their patriarchal figures. Hamlets mistreatment of Ophelia, “God hath given you one face, and you make yourselves another,” uses ploce to highlight his hypocrisy considering the “antic disposition” he puts on. Similarly, the vulgar comment, “nothing ... between maids' legs,” goes unchallenged, emphasising how Ophelia’s expected obedience prevents her defying a male’s authority. This portrayal represents Shakespeare’s patriarchal values, emphasising the seemingly eternal struggle for gender equality. Though gender dichotomies remains, changing times allow modern responders to view the characters actions differently to Shakespearean audiences. Gertrude’s hasty marriage to Claudius portrays her as disloyal to Old Hamlet, yet to me it also asserts her feminine independence. This uncharacteristic representation of a strong woman causes Hamlet’s assumption of the treachery of all...
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...Response Paper: Hamlet Contrary to popular belief, ignorance is not, in any shape or form, ‘bliss’, however it is not restricting either. No one can truly live in a constant state of ignorance, because just as time heals all wounds, time also inflicts them. Sometimes not knowing is antagonizing than knowing. However, knowledge can place a person in a situation where they feel that they have no other option but to perform an act of some kind. In the Shakespearean play “Hamlet”, the main character’s, Prince Hamlet, revelations of the sins committed by his uncle, Claudius, adds to the tension that already existed between the two and is the catalyst to the tragic events that take place within the play. The grievances that Hamlet had against his Claudius, now his step-father and King, is the murder of his father, the theft of his crown and Claudius’ hasty marriage of his mother and queen, Gertrude. The main grievance Hamlet has with his uncle is the murder of his father, the king. Already grieving over death of his father, Hamlet discovers, by confession of his father, that Claudius murder him in order to become king. Called to action by his friend Horatio and the guards who have witness appearances of a ghost during their night watch, Hamlet goes to confront the ghost that looks like the late King Hamlet. A ghost doomed to walk the earth for an unspecified number of years to atone for the sins that he was not able to confess, King Hamlet Sr., tells the prince that he was murdered...
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...But, unfortunately, her exceptional obedience would be her downfall. Ophelia is found betraying her one true love, Hamlet, by merely obeying her father, Polonius, and king Claudius, who believe that Hamlet has gone mad. Polonius seemed to bear a grudge against Hamlet, which should have been a signal to Ophelia that something was amiss. But being the good daughter, she did as she was told when Polonius instructed Ophelia not to ever speak to Hamlet again. When Hamlet comes running into her room looking like he has just seen a ghost, which in fact he has, and she does not say a word to him. She just looks at him like he is crazy and watches him go out the door without saying a word. Hamlet feels betrayed by his love for her and lack of response to his distress. She obeyed her father and did not speak to him, even when he looked like he had gone through something very terrible. Ophelia agreed to Polonius’s schemes to spy on Hamlet, even when it went against her feelings for Hamlet. The second thing that Ophelia does, which causes her to lose Hamlet's trust, is set up a plan with Claudius and Polonius to see if Hamlet is crazy and if Ophelia is the reason for his insanity. The king and Polonius hide while Ophelia is told to find Hamlet where he normally walks around and find out if he is insane and what has made him that way. Ophelia goes along with their plan willingly; she...
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...Psychoanalysis of Hamlet’s Subconscious Psychoanalytic http://en.wikipedia.org/wiki/Hamlet In the first half of the 20th century, when psychoanalysis was at the height of its influence, its concepts were applied to Hamlet, notably by Sigmund Freud, Ernest Jones, and Jacques Lacan, and these studies influenced theatrical productions. Freud suggested that an unconscious oedipal conflict caused Hamlet's hesitations. (Artist: Eugène Delacroix 1844). In his The Interpretation of Dreams (1900), Freud's analysis starts from the premise that "the play is built up on Hamlet's hesitations over fulfilling the task of revenge that is assigned to him; but its text offers no reasons or motives for these hesitations".[83] After reviewing various literary theories, Freud concludes that Hamlet has an "Oedipal desire for his mother and the subsequent guilt [is] preventing him from murdering the man [Claudius] who has done what he unconsciously wanted to do".[84] Confronted with his repressed desires, Hamlet realises that "he himself is literally no better than the sinner whom he is to punish".[83] Freud suggests that Hamlet's apparent "distaste for sexuality"—articulated in his "nunnery" conversation with Ophelia—accords with this interpretation.[85][86] John Barrymore's long-running 1922 performance in New York was characterized as "revolutionary in its use of Freudian psychology; in keeping with the post World War I rebellion against everything...
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...KING LEAR Act One The play opens at Lear’s court, where we meet the main characters. The opening scene is in itself shocking, as Lear forces his daughters to declare their love for him. The one who loves him the most will receive the largest part of his kingdom, which he intends to divide between the three. Lear himself wishes to hand over the ruling of the kingdom to his daughters, while retaining the ‘Pre-eminence, and all the large effects / That troop with majesty’ (Scene 1, Lines 131-2). Goneril and Regan acquit themselves well at this love test. Cordelia, however, dismayed by her sisters’ ponderous words, refuses to take part in the ‘contest’ and tells Lear that she loves him as her duty instructs her. When Cordelia refuses to speak again, Lear casts her off without a moment’s hesitation. Ken attempts to argue with the King, accusing him of ‘hideous rashness’ (Scene 1, Line 151). When Kent further warns Lear that his elder daughters are false flatterers, Kent too is banished. Lear invests Albany and Cornwall with power, and, after Burgundy refuses to take Cordelia as his wife, now that she is without dowry, France takes her for her virtues alone. Goneril and Regan complain, in private, about Lear’s harsh judgement and unpredictable behaviour and worry that they too may be treated unfairly. Edmund, Gloucester’s bastard son, soliloquises about his own situation, revealing his devious intentions towards his brother. When his father enters, Edmund’s...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...10000 quiz questions and answers www.cartiaz.ro 10000 general knowledge questions and answers 10000 general knowledge questions and answers www.cartiaz.ro No Questions Quiz 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 Carl and the Passions changed band name to what How many rings on the Olympic flag What colour is vermilion a shade of King Zog ruled which country What colour is Spock's blood Where in your body is your patella Where can you find London bridge today What spirit is mixed with ginger beer in a Moscow mule Who was the first man in space What would you do with a Yashmak Who betrayed Jesus to the Romans Which animal lays eggs On television what was Flipper Who's band was The Quarrymen Which was the most successful Grand National horse Who starred as the Six Million Dollar Man In the song Waltzing Matilda - What is a Jumbuck Who was Dan Dare's greatest enemy in the Eagle What is Dick Grayson better known as What was given on the fourth day of Christmas What was Skippy ( on TV ) What does a funambulist do What is the name of Dennis the Menace's dog What are bactrians and dromedaries Who played The Fugitive Who was the King of Swing Who was the first man to fly across the channel Who starred as Rocky Balboa In which war was the charge of the Light Brigade Who invented the television Who would use a mashie niblick In the song who killed Cock Robin What do deciduous...
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