A Coat

‘A Coat’ by William Butler Yeats – Alternative points of view

a) The poem itself is about Yeats creating an illusion of him constructed from misinterpretations and lies, but hiding behind it like a shield. However, his critics became aware of the lies and used them for their personal gain. Yeats then relieves himself of the stress of lying and feels free. One may take Yeats’ literal meaning in “coat” as a protective garment that stretched from “throat to heel”. This suggests that Yeats originally felt vulnerable and needed some comprehensive protection, covering his entire body. “Mythologies” are entities that are false, but believed by people as the truth, which brings in parallel with the lies that Yeats covers himself with. When he “let them have it”, he exercises power and control over “them” by giving them permission (inclusion of the word “let”), intimating some closure, as he no longer feels the need for protection.

b) The capitalisation “I MADE” may be an emphasis on Yeats’ opinion of himself, celebrating an achievement. This may be indicative of a narcissistic personality.

c) The Coat described in the poem by Yeats may be a literal coat covering his body.

1a) The poem itself is symbolic of his argument with the media and internal politics. Yeats was known for his political messages within his poems, but he stopped politicising them. As a result of this, he faced some pressure. His poetry was used a weapon against opposing political parties and movements, but his party members felt aggrieved that his poetry was less militant and more romanticised. Whilst Yeats may share some political sentiments with his party members, he verbally attacks them, calling them “fools” for misusing his poetry. Yeats feels angry that, not only is his poetry being stolen and misused, but he doesn’t get any credit for it either, “Wore it in the world’s eyes as if they’d wrought it” Yeats could arguably have narcissistic tendencies, owing to his discomfort with someone else getting the credit for his work.

1b) This may Yeats deploring materialistic attitudes and arguably, Capitalism. In making something, one contributes less to the economy and the enhancement of Capitalism. This links with him saying that it’s “more enterprising to walk naked”. This may be Yeats saying that he would rather work as an individual, instead of contributing to an economy that he doesn’t believe in. He uses the word “enterprising” ironically, given its association with business.

1c) The Coat may extend to being a coat of arms, such as those in Irish history.

2a) Yeats is historically known for being a symbolic poet and many of his poems use symbolic analogies that deviate from the literal message. ‘A Coat’ is arguably symbolic of the futility of war. There are clear military references throughout the poem. “A coat covered in embroideries” resembles a coat of arms, uniquely designed to represent a group or clan, and often worn on armour in the Dark Ages. Armour would typically cover “from throat to heel” for practical reasons. Yeats is arguing that the initial heraldry of coats of arms was corrupted through its use in violent acts (“the fools”). “Enterprise” can be considered ‘honour’ in this sense that Yeats only ever wanted coats of arms to represent beauty , but the inclusion of violence have stripped its beauty from it and prompted him to rather be without it and “walk naked”.

2b) Arguably, he capitalises “I MADE” to emphasise the English language. There are two syllable s, which gives the reader a thudding, primal tone. Perhaps this is Yeats putting his foot down and saying that he is deviating from old Irish culture and language and erring on the side of England.

2c) The Coat may be symbolic of Yeats’ need for protection from reality and the outside world.

3a) “A Coat” is Yeats remembering medieval history and almost mourning the passing of time and history. Again, the coat is symbolic of a coat of arms, but a coat of arms closely associated with the separatism of clans in Ireland. Myths are an indicator of history and time, and the reference to “heel” could be interpreted as Achilles’ Heel from Greek mythology. This was his weak spot, perhaps intimating that Yeats’ admiration of history was his weak spot and forced him to deviate from his usual political poetry.

3b) “I MADE” being capitalised may suggest that the reader should shout it, creating a tone for the poem. Perhaps Yeats’ tone is angry.

3c) The coat may be a history of Yeats’ family and life, much like a family coat of arms, but being symbolic of the history in that it is made up of mythologies, rather than it being symbolic of Irish clans.

Hamlet by William Shakespeare

Analysis Log (as if Streetcar wasn’t bad enough…)

Act 1, Scene 1

Summary:

A number of guards on the walls of Castle Elsinore are discussing their evening’s duty, in the wake of some political and military strife. Horatio and Marcellus join them and the discussion shifts towards the present of a ghost amongst them. Shortly after talks open, the ghost itself appears, but does not communicate nor move, and leaves post-haste. Prior to its departure there is conjecture that the ghost may be that of the late King Hamlet. Marcellus enquires to Horatio about the state of alert, who goes on explain that Kings of Norway and Denmark fought (Hamlet senior representing Denmark), and King Hamlet won, so his Son now aims to claim the land fairly won. The group consider the possibility of the ghost being a precursor to an assault from Norwegian forces, such as that when Caesar was murdered in Rome. Briefly after this notion, the ghost reappears. As the cock crows, the ghost disappears. The group come to the conclusion that the ghost can only be seen in daylight, so they adjourn to tell Hamlet.

Analysis:

-          The scene opens with a great deal of tension, “You come most carefully upon the hour”. This suggests that there is an expectant level of concern around Castle Elsinore, as Barnado approaches with care.

-          Horatio speaks with religious undertones, “By heaven I charge thee speak”, which is indicative of the fear he experiences around the ghost, resorting to religion to explain the currently inexplicable.

-          Horatio also appears the leader of the group, with the strongest connection to the ghost at the time; this is prompted by Marcellus’ “Question’it, Horatio”. They depend on him as a leader.

-          “He smote the sledded Polacks on the ice” gives indication of the political and racial tensions at the time of writing, and gives warrant to the notion of an assailant later postulated in the scene, given than the ‘King’ appears to be the aggressor. In addition, the early introduction of political issues arguably gets the topic out of the way for the rest of the play, suggesting that Shakespeare’s overall message is unlikely to be predominantly political.

-          Horatio uses technical legal lexis, “and terms compulsory” to consolidate his position has leader of the group and someone to turn up, as he makes a clear statement about his knowledge and intellect.

Act 1, Scene 2

Summary

Claudius, now the King of Denmark holds court with Hamlet, his ambassadors and his wife (and Hamlet’s mother) Gertrude. Claudius makes a speech, mourning the death of the previous King, but celebrating his marriage to Gertrude. Hamlet solemnly lurks in the background making little comment. Claudius sends his ambassadors to the King of Norway to deal with political affairs and Hamlet’s sorrow over his father’s death is divulged to his mother and Claudius. Gertrude implores him to stay with them, which he eventually agrees to. In monologue, Hamlet explains his deep-set pain over the loss of his father, and how meagre a comparison Claudius is to him, as a father, a husband and a King. Horatio, Barnadus and Marcellus enter the scene and explain their encounter with the ghost and how they recognise it to be Hamlet’s father. Hamlet jumps at this opportunity to see his late father once more and agrees to meet them on guard to he can meet this spectre.

Analysis

-          In Claudius’ opening speech he comes off very diplomatic, “In equal scale weighing delight and dole”. He’s obviously very pleased about his ascension to the throne, but wary of offending his guests, and aims to maintain favour with his subjects.

-          Claudius refers to the late Hamlet as “our dear brother” and uses “our” frequently. This is done to solidify him with his people and appear humbled in order to appear more relatable to his subjects. He does his purely for personal gain because he aims to win them over and appear affable.

-          Evidence of his immediate usage of power is when he orders his ambassadors to Norway, “Giving to you no further personal power…” In doing so, he has lost his patience and eagerly uses his newfound royal command to make a large decision on behalf of the whole nation.

-          Hamlet’s first speech is [Aside], “A little more than kin and less than kind”. His words detach him from his Uncle, as being less than kind suggests that they are not similar people. In addition, by speaking aside, he symbolically detaches himself from the whole debacle.

-          When Claudius tries to gain favour with Hamlet, his speech is not in iambic pentameter; rather, it is 1 syllable surplus, perhaps inferring that his power (as Shakespeare denotes influential and powerful characters by usage of iambic pentameter) is ill-gotten or artificial (as it later appears to be).

-          In Hamlet’s depressed soliloquy, he demythologises himself, “Than I to Hercules…”In much literature (including that of Shakespeare), characters who perhaps egocentric or megalomaniacal mythologise themselves because their brilliance escapes the minds of mortals, however in this instance, Hamlet is so depressed in the mourning of his father that he defies a heralded literature convention and does the opposite, proposing himself as the opposite of a God.

Act 1, Scene 3

Summary

Laertes is about to leave for France, but he speaks to Ophelia first. They discuss the possibility of Hamlet wanting relation with her, and Laertes expresses his concerns that whilst Hamlet’s feelings of love may be genuine, his position as prince would limit his marriage, often to women with whom the state could benefit diplomatically from. Ophelia promises to obey her brother. Polonius joins the scene and reiterates Laertes’ warning to her, after lecturing him on how to conduct himself abroad. Polonius’ concern is that Hamlet’s infatuation is temporary and he doesn’t want her as a wife; rather, he would have her for sex alone, and she is naïve to think otherwise. He finally implores her to seriously consider her life before being wed with anybody. She agrees and the scene closes.

Analysis

-          When Laertes initially warns Ophelia of Hamlet’s advances, he uses vivid imagery and articulate description, “Hold it a fashion, and a toy in blood; A violet in the youth of primy nature…” His precise use of wording suggests that he speaks with some forethought and that he had considered Hamlet’s attraction before to be an issue, so is already prepared with what to say.

-          In Ophelia and Laertes’ discussion, Laertes speaks vast amounts and Ophelia responds with short answers. This is testament to her obedience to her brother and her willingness to agree with him and comply with his demands. In addition, it suggests that she is naïve and somewhat ignorant of the world. She does not offer a counter-argument to Polonius’ warnings and does not challenge what they say. It is conceivable that she relies on his family for guidance.

-          Ophelia is clearly attracted to Hamlet and appreciates his approach, “And hath given countenance to his speech, my lord, With almost all the holy vows of heaven”. She  believes him to be genuine and is convinced by his courting, as in giving countenance is to back up words, and she feels his attraction is tangible and comprehensive.

Act 1, Scene 4

Summary

Hamlet meets Horatio and Marcellus on the castle battlements. Immediately, Hamlet speaks ill of Claudius’ celebratory antics and seems quite depressed. The ghost then enters the scene. Hamlet questions its form and person. The ghost beckons for Hamlet to follow it and he complies, despite Horatio and Marcellus’ fears that it might lead him to his death on the seabed; however, Hamlet reveals that he cares little for his life, only his soul.

Analysis

-          Hamlet and Horatio use personification to describe the air, “The air bites shrewdly, it is very cold. It is a nipping and an eager air” They foreshadow the arrival of the ghost, as the animation of the air is comparable to the animation of the late King Hamlet’s soul.

-          In Hamlet’s deploring of Claudius, he touches on the extravagance of his celebrations, “As he drains his draughts of Rhenish down…” Rhenish is wine from the Rhineland area, which is some distance from Denmark (being in Germany). He has gone to extreme ends to celebrate, when he should be mourning too. This reveals the personality of Claudius as someone who revels in the gaining of power.

-          The society of the time is more than likely a patriarchy, as Hamlet says “Since nature cannot choose his origin –“Nowadays, nature is referred to as ‘Mother Nature’, so there has been a change between times. Furthermore, nature is very powerful, so one might assume that men should be in power (indicative of the time).

Act 1, Scene 5

Summary

The ghost reveals to a despairing Hamlet that he did not die of natural causes, as the rest of Denmark would believe. He was poisoned by Claudius in order to take his crown and throne. He lay in the orchard, as he would do, and Claudius put poison in his ears that took immediate effect and gave the impression of a snake bite. He also condemns his wife; Gertrude, and claims that he was unfaithful to him prior to his untimely death and succumbed to lust. Whilst saying this, he also explains that he is in purgatory, being purged for his sins, as he died without blessing. The late King Hamlet implores his son to claim revenge on Claudius, but leave his mother to her own conscience. The ghost departs and Hamlet subtly explains to Marcellus and Horatio what he learns, but makes them swear an oath upon his sword that they will never divulge the information.

Analysis

-          The ghost has faith in Hamlet, “HAMLET: Speak, I am bound to hear. GHOST: So art thou to revenge, when thou shalt hear.” The ghost believes that Hamlet is bound to want revenge. This indicates that the ghost places faith in his son and knows him well.

-          When the ghost reveals that he is in purgatory, “Till the foul crimes done in my days of nature”. Kings aren’t, by definition, criminals, so his sins must have been done in a royal and official capacity. This gives some indication of the political situation in Denmark prior to the King’s murder. It is possible that he is guilty of murder through royal order, or other similarly heinous deeds.

-          There are religious undertones throughout the play (associated strongly with Christianity), but they are amplified when the ghost reveals the cause of his death, “The serpent that did sting thy father’s life Now wears the crown.” This is a reference to the snake in the Garden of Eden in Genesis of the Holy Bible. The snake is referred to as the deceiver and is interpreted as Satan. Shakespeare and the ghost make the point that Claudius deceived the state and is the embodiment of Satan and thus, evil.

-          Queen Gertrude is painted as a weak-willed character, but fundamentally good when the ghost asks Hamlet to leave his mother and not punish her as he would Claudius, “Against thy mother aught; leave her to heaven, and to those thorns that in her bosom lodge to prick and sting her.” The ghost believes that she will go to heaven, and the ghost is suffering in purgatory, so he clearly has a good idea of the judging system. Her ‘bosom’ may be a reference to her heart, which may sting with guilt as her conscience pounds at her. The ghost’s approach could be interpreted as sadistic; alternatively, he may believe that she will repent her sins on her own.

-          The diplomatic nature of the late King’s position becomes apparent when he uses a variety of language, “Fare thee well at once. The glow-worm shows the matin to be near”. ‘Matin’ is modern French for morning, indicating that the King would have spoken to a number of ambassadors from different states and nations across the continent.

-          King Claudius’ relationship with his subjects becomes more apparent when Horatio shows dissent towards him, “There needs no ghost, my lord, come from the grave to tell us this.” This was in reference to Hamlet suggesting that there was a knave in their midst. Ordinary people like Horatio are aware of Claudius’ villainy.

Act 2, Scene 1

Summary

Polonius asks Reynaldo to go to France and enquire about his son; Laertes. He wants him to indirectly spy on him by speaking to his friends and acquaintances, rather than speaking directly to him. He also wants to know whether he is leading a wild lifestyle, such as partaking in prostitutes and alcohol. Reynaldo agrees to this and leaves as Ophelia enters. She tells Polonius that Hamlet approached her in a dishevelled state and acts strangely towards her, but doesn’t speak. Polonius concludes that Hamlet’s love for her must be genuine, but Ophelia rejected his advances and Polonius believes Hamlet to now be mad. They decide that they must go to the King to explain.

Analysis

-          Polonius is quick to send spies to Laertes, but does not condemn his son. He says that such wild behaviour is natural in someone of his age, “As are companions noted and most known to youth and liberty”. He clearly empathises with his and perhaps envies his youth somewhat, as he notes youth with liberty, when liberty isn’t exclusively for the youthful. Perhaps Polonius feels constrained by his age?

-          Ophelia is very perceptive towards Hamlet’s condition when he approaches her, “No hat upon his head, his stockings fouled, ungartered, and down-gyved to his ankle”. Her precise recollection of the events that transpired, despite being previously overwhelmed by Hamlet’s intentions suggest that she remembered for personal gain.

-          Ophelia is no longer excited over Hamlet’s intentions, rather, concerned, “But truly I do fear it…” Her attitude towards Hamlet has changed abruptly, possibly suggesting that she is easily influenced (after she was dissuaded by Laertes and Polonius)

Act 2, Scene 2(possibly the worst scene to read all in one go without any caffeine)

Summary

Claudius asks Rosencrantz and Guildenstern (two of Hamlet’s old classmates) to keep Hamlet company and find the cause of his recently disturbing behaviour. The couple accept and as they leave, Polonius appears and tells the King and Queen that his ambassadors from Norway have returned, and he knows the cause of Hamlet’s madness. The ambassadors reveal that Fortinbras’ father was eventually made aware of his son’s military exploits and redirected them towards Poland instead of Denmark. After this, Polonius explains that Hamlet is in love with Ophelia and shows the royal couple a letter written by him. Claudius asks how Ophelia responded, and is pleased to hear that Polonius has banished her to her quarters so nothing more can come of it. He suggests that he overlook a meeting between Hamlet and Ophelia to confirm his belief that Hamlet is mad. Hamlet enters the scene and Hamlet speaks in a nonsensical tongue in an effort to not give away his position or state on Ophelia. Polonius suspects that there is method to his madness, but seems to accept his words as evidence for his actual madness. Rosencrantz and Guildenstern re-enter the scene and greet Hamlet. He speaks to them as he did to Polonius, but with less animosity as they are old friends. That said, he does not trust them enough to reveal the truth. He is also aware that they had been sent by the King and Queen, to which he responds by expressing his melancholic mood without giving away details. Their discussion is disrupted by a troupe of actors entering the scene. In the wake of this, Hamlet very deliberately mentions his madness in earshot of Polonius, who he knows will report it back to the Queen and King. The discussions between himself and Polonius dot between theatre (as the troupe come into prominence in the eye of the audience) and Polonius’ daughter (who Hamlet comically muses to have no knowledge of). As the troupe perform, Hamlet draws a parallel between the play and the death of his father; becoming concerned by the emotion exhibited by the leading actor and wondering why he isn’t as upset. Hamlet initially plans on having the actors act out something similar to the murder of his father, in an effort to get Claudius to confess his misdoing. He then changes his mind, on the chance that the ghost is a demon deceiving him, and sets his aims on getting evidence of the ghoul’s identity.

Analysis

-          Claudius avoids personal contact with Hamlet and sends his old schoolmates to visit him, rather than he himself, “And sith so neighboured to his youth and haviour, That you vouchsafe your rest here in our court…” The King admits to not understanding his step-son’s behaviour particularly well and appears detached from the whole tribulation.

-          Claudius also exhibits an overwhelming lack of understanding of Hamlet when he chooses Rosencrantz and Guildenstern to pry into his life, “And sure I am, two men there are not living to whom he more adheres”. Claudius has put all of his faith into two men that have such a strong relationship with Hamlet that they haven’t been mentioned at all in the play yet, and Hamlet has exhibited strong levels of trust and understanding with other characters (Horatio and Marcellus).

-          Hamlet and Rosencrantz relationship appears weaker than first thought when he is confused as to why he was asked as a favour, rather than royally ordered, “Both your majesties might by the sovereign power you have of us, put your dread pleasures more into command than to entreaty.” He appears confused, which suggests that he doesn’t know why he is being asked to confront Hamlet and presumes that there would be more suitable candidates elsewhere. The inclusion of royal command as a possibility leads to conjecture that the couple feel almost forced.

-          In Hamlet’s letter to Ophelia his insanity is revealed through his contradiction of himself, “…the most beautified Ophelia’ – That’s an ill phrase, a vile phrase; ‘beautified’ is a vile phrase, but you shall hear” Hamlet argues with himself on paper, indicating that he is unsure about his feelings.

-          The length and positioning of lines in Claudius’ speech indicates how the actor would read it, insofar as on lines 128 and 129 there is a gap at the beginning of, “But how hath she received his love?” The initial gap is left for dramatic tension and for Claudius to digest what he has heard. ‘Received his love?’ is on a separate line for emphasis, as though the King is speaking with reluctance because he doesn’t want the situation to occur. This happens again on p87 with Polonius when he says, “You know sometimes he walks four hours together here in the lobby.” ‘Together’ is on a separate line, because it is the main thing that causes him concern.

-          Hamlet labels Denmark a prison, much to the surprise of Guildenstern and Rosencrantz, “Denmark’s a prison… - … Why then ‘tis none to you; for there is nothing either good or bad but thinking makes it so. To me it is a prison.” The fact that is constrains him and he alone suggests that his ill-feelings to Denmark are exclusive to him. In his situation, he cannot be with Ophelia, partly because he has an official, royal capacity and his marriage would be used for diplomatic bartering. Whilst he is a prince, by blood line, he is in a marital prison.

-          When speaking to Rosencrantz and Guildenstern, Hamlet exudes confidence, indicated by his usage of iambic pentameter, “He plays the king shall be welcome – his”. In addition, he doesn’t capitalise ‘king’, indicating his relationship and opinion of Claudius and suggesting that his madness is temporary and sporadic, as he capitalises ‘King’ in other instances when he appears less in control of his faculties and less sane. In other circumstances, his speech is not in even lines and doesn’t conform to iambic pentameter. It is arguable that iambic pentameter indicates a temporary sanity, but also that his sanity is erratic in its change. It is possible that Hamlet suffers from what we know now as bipolar affective disorder.

Act 3, Scene 1

Summary

The scene opens with Claudius asking Rosencrantz and Guildenstern what they had learnt about Hamlet’s state of mind. They reply that he is clearly troubled, but spoke jovially and freely, which put rest to their doubts of his sanity. They also note that he was showed interest in the actors, which Claudius implores them to augment his enthusiasm of. Claudius then asks Gertrude to leave where he and Polonius could contrive a meeting between Ophelia and Hamlet, to prove that he is madly in love with her. Hamlet enters the scene as Claudius and Polonius leave. He is contemplating whether it would be more fitting to live or die, given how depressed and disenfranchised he is with life. He is unsure whether death is the end to suffering, or an extension on it (potentially enhanced by his encounters with the ghost, although there is no evidence to support this). At the end of Hamlet’s heart-felt monologue, he realises that Ophelia is there. She wishes to return the gifts that he sent her, but he does not claim responsibility for sending them. Hamlet rejects Ophelia’s suggestion that he loves her, and suggests that she and her bloodline have been tainted by her father, Polonius. Hamlet rants about the importance of chastity and beauty, and implores her to go to the nunnery where she would remain celibate. When Hamlet leaves, Ophelia is clearly distressed over his apparently weak mental condition and it becomes apparent that Polonius and Claudius were listening to the conversation. Claudius cannot see love as the cause of madness, however Polonius can. A head to head conversation with Hamlet’s mother is organised in a further effort to seek the route of the problem.

Analysis

-          King Claudius feels need to justify his espionage (with Polonius) so much that he publicly expresses it, “Her father and myself, lawful espials”. Claudius has no real concern for doing his spying legally, because he’s the King, and ultimately he controls the law; besides he couldn’t possibly be prosecuted as he holds deciding power in all courts in Denmark. Ophelia is within earshot, as are Rosencrantz, Gertrude and Guildenstern. These are all people that care (to some extent) for Hamlet. He justifies his actions as being legal to reduce the risk of opposition from people who would play a key role in his investigation. In addition to this, Claudius also suggests that his espionage serves Hamlet a benefit by claiming his madness to be an affliction, “If ‘t be th’ affliction of his love or no that thus he suffers for” Claudius makes the assumption that he is mad and he is suffering; further, that in finding out the cause, they might cure him. Claudius has already been demonstrated as a King that acts primarily for personal gain, and curing Hamlet of insanity would not necessarily be of vast personal gain, so it is conceivable that these words are hollow and purely to settle the minds of Hamlet’s peers.

-          Queen Gertrude has a watered down perception of Hamlet’s madness, hoping that it is solely associated with love, “I do wish that your good beauties be the happy cause of Hamlet’s wildness; so shall I hope your virtues will bring him to his wonted way again, to both your honours” Given that Hamlet’s madness has attracted the attention of the King and his inner circle of peers, it seems unlikely that he is purely madly in love, and it also seems unlikely that the Queen would believe this with any confidence. She seeks out a simple explanation, and a simple cure, encouraging Ophelia to use her “virtue” to bring him back to his usual way. The Queen, as someone who has known Hamlet all of his life and has raised him, should surely know his personality and tendencies. The fact that the Queen ‘hopes’ is purely speculative, as if she is endorsing an illusion and refusing to accept the truth. Perhaps there is more than one mad royal.

-          “To be or not to be” gives an insight into Hamlet’s mind. He is clearly suicidal, but he isn’t speaking of a matter of life or death; rather, he speaks of existence or nonexistence. He is driven to such a point whereby the notion of ceasing to exist attracts him. His internal debate is over the existence of an afterlife, and that playing a clear part in his position, because he expresses an urge “to do, to sleep – no more; and by sleep to say we end the heart-ache…” Whilst Hamlet makes frequent Christian religious references throughout the play, 16^th century Europe was still a devoutly religious place to live. The possibility of there being no afterlife is of atheistic conception, which would be strictly taboo in that time and culture. Hamlet is driven to such extreme levels of sadness, that he pensively toys with the validity of one of the most deep-found social, cultural and religious conventions of the time. Further, his hope from death is the fear held by everybody else; that there is no heaven.

-          Prince Hamlet feels tied to his position as royalty and his obligation to his dead father. Still in his depressed monologue he says, “Whether ‘tis nobler in the mind to suffer the slings and arrows of outrageous fortunes…” The word ‘noble’ holds aristocratic and royal connotations, and seems to be the only line of defence stopping him from killing himself. Hamlet clearly has no benevolent feelings towards Claudius, and few towards his mother, Gertrude. It appears that he is fairly certain of the ghost being his father, because that is the only remaining noble link that he values. Hamlet feels a deep-set obligation to avenge his father’s death before he can die himself, and holds it in royal regard. He also feels incredibly unfortunate to be in the position that he is in. Hamlet speaks of ‘outrageous fortunes’ carrying ‘slings’ and ‘arrows’. Being born into a royal family and being an eventual heir to the throne is an outrageous fortune. The probability of that happening is incredibly slim, yet he was fortunate enough to manage it. However, now that he is Prince, he may feel restricted from love. It had already been suggested by Laertes that he could not possibly marry Ophelia, because it would require a royal seal, and his marriage would more than likely be used for diplomatic purposes by the King. His royalty keeps him from his love.

-          Hamlet finally suggests that the cause of his sadness does not lie in his particular circumstances, ultimately. Some would understand Hamlet’s troubles to be caused by the fact that his father was murdered, his morally bankrupt uncle had reign of the country, the country itself was in political turmoil and he was being prevented from being with the woman he loved for myriad reasons, all beyond his control. Arguably, this is the case, but Hamlet also says, “Or to take arms against a sea of troubles, and by opposing end them?” The ‘sea of troubles’ is a metaphor for human life. When Hamlet first encounters the ghost, Horatio and Marcellus are deeply concerned that the ghost would lead him towards the sea and to his watery grave. The sea represents death in the play. Plus, the sea is ‘away’ from land and Denmark (a place that he earlier described as a prison, then by consequence, sea is freedom), where all of his apparent troubles lie. To support this argument, Hamlet goes on to say, “… and the thousand natural shocks that flesh is heir to…” Hamlet views life as a pre-determined path of wounds and pain that is unavoidable. With flesh being heir to it, it is born to inherit a legacy of ‘shocks’ (which Shakespeare used as the equivalent to a blow in a battle from a sword). Hamlet is depressed because he realises that in life, man is always going to suffer and there is no sole cause for it, and thus, no conceivable remedy. He views life as a constricting state, whereby you have no true control over yourself, given that you will definitely feel pain and suffering. Hamlet views death as the way out, but he is unsure as to where that path takes you.

Act 3, Scene 2

Summary

The scene opens with Hamlet making it clear to some of the actors that he does not appreciate exaggerated acting and would prefer an emotional but genuine performance. He makes a note of aiming their performance towards more esteemed audience members, who would not appreciate exaggerated acting and clown-like behaviour. Hamlet then asks Horatio to be mindful of Claudius and gauge his reaction to the play that parallels his murder of the King; he goes on to tell Horatio how much he values him as a friend. Prior to the opening of the play, Hamlet makes numerous innuendos and subtly sexual advances on Ophelia in view of Polonius, Claudius and Gertrude; as well as pondering publicly how strange it is that the Queen is so cheerful so shortly following the death of King Hamlet. The dumb-play prelude begins and a version of Claudius killing King Hamlet is re-enacted. The stage King and Queen discuss the King’s growing ill-health and the Queen pledges to never remarry if he were to die. The play continues and when Claudius learns of the story’s plot, he reacts angrily and demands the lights to be turned on and he leaves the theatre. Hamlet is elated and treats the exodus as an admission of guilt. Guildenstern and Rosencrantz confront Hamlet later and ask that he tend to his mother’s request of brief company. Hamlet reacts indignantly and accuses them of trying to manipulate him, but grudgingly agrees. He finally agrees with himself that the ghost was genuine, and plans for his interview with his mother.

Analysis

-          Hamlet plans the play very carefully and instructs the actors with an aim to move Claudius’ conscience, “Now this overdone, or come tardy off, though it makes the unskilful laugh, cannot but make the judicious grieve…” In saying this, Hamlet means that when one’s act  is exaggerated or makes a mistake, a less intelligent member of the audience will laugh, whereas their smarter counterpart will pity for the actor. He is essentially giving Claudius credit for his murder of King Hamlet by describing him as ‘judicious’. Hamlet still wants to exact revenge on Claudius, but it is conceivable that he almost compliments him for his cunning.

-          Hamlet, prior to the arrival of Claudius  does not want to appear intelligently occupied or busy, for fear of arousing suspicion in his actions, “They are coming to the play; I must be idle.” One may argue that Hamlet just wants to appear nonchalant so as to preserve his rouse, however others might argue that ‘idle’ is used in the sense of ‘madness’. This would suggest that Hamlet feels the overwhelming need to switch his sanity on and off in the presence those who doubt it.

-          Once Hamlet’s speech does change to that of a man clasped by the grips of insanity, he slips out of iambic pentamenter, “Excellent I’faith, of the chameleon’s dish; I eat the air, promise crammed, you cannot feed capons so.” The line comprises 15 syllables, perhaps suggesting that Hamlet’s behaviour is intentionally excessive. This further supports the argument that Hamlet’s usage of iambic pentameter is indicative of sanity.

-          Hamlet’s continuous exaggeration of details is epitomised when he says, “…and my father died within these two hours”. He gives off the impression of being intentionally melodramatic, either to make Ophelia feel sympathy towards him and feel closer to him, or to emphasise his “madness” in the eyes of the King and Queen.

-          The Player King is highly regarded in the play, and in turn by Hamlet who created him. His speech is rhyming, fluent and flowing, “Faith I must leave thee love, and shortly too, my operant powers their functions leave to do…” Clearly, Hamlet laments the death of his father and seeks to immortalise him in the highest possible form through theatre, in addition to it being a personal insult towards Claudius, when the “nephew” characters speaks without any guile or beauty.

-          A parallel is drawn between the Queen’s betrayal of the King In the play, and rising political tensions when she considers remarriage equivocal to treason, “O confound the rest, such love must needs be treason in my breast.” Treason is often associated in a political sense, and is punishable by death in many countries. Hamlet equates her betrayal of his father with a betrayal of country and state, indicating how upset he is by the ordeal.

Act 3, Scene 3

Summary

Claudius informs Rosencrantz and Guildenstern that Hamlet poses a risk to the throne and the state, and as such, should be sent to England. The pair warns that he should come to no harm, as he has such an influential public image that any harm that falls upon him would surely harm the people and the state too. Upon entering the scene, Polonius tells Claudius that he will spy on Hamlet and Gertrude’s conversation. When Polonius leaves, Claudius enters soliloquy and conveys his horror and guilt regarding his regicide and fratricide. He is so grief stricken that he finds himself unable to prey and rid himself of his guilt. Hamlet sees this and contemplates whether it is the time to avenge his father. He decides against it, as he sees Claudius praying and acknowledges that Claudius did not give his father such a grace, and as such his father was in purgatory. Hamlet wants Claudius to die as he is really is; angry, greedy and drunken, so as to secure his place in hell.

Analysis

-          Before the King’s façade breaks, he places the political ramifications of Hamlet’s madness as a priority above his relationship with his step-Son and his wellbeing, “And he to England shall along with you. The terms of our estate may not endure hazard so near us doth hourly grow out of his brows.” Claudius views Hamlet as a danger to his power and seeks to detach himself if need be to stop him intervening in any politics.

-          Polonius continues his ‘diplomatic’ efforts in corrupting minds, “’Tis meet that some more audiences than a mother, since nature makes them partial, should o’erhear the speech of vantage.” He secures a point of advantage, being in receipt of valuable information and manipulates the King’s mind to achieve this. Polonius also plants a seed of doubt in Claudius’ mind, suggesting that Gertrude’s loyalties may be divided and that she has a bond with Hamlet through ‘nature’ which is often described as being incredibly powerful. He may be suggesting that the Queen’s loyalty fading is a natural inevitability.

-          When Claudius finally breaks down and suffers at the hands of guilt, he isn’t particularly confident any kind of divine absolution, “Help, angels, make assay…” Firstly, the King is humbled, seeking safety from angels.  Secondly, instead of demanding help or expecting it, he says ‘make assay’, which means ‘to try’. Claudius is so certain of his guilt and the despicable nature of his actions that he is not necessarily expecting success, even from omnipotent sources.

Act 3, Scene 4

Summary

Hamlet confronts his mother about her illicit relationship with Claudius but Gertrude calls for help immediately. Polonius leaps out of hiding; startled, Hamlet kills him with his rapier. He continues to set out what she had done bluntly to her, and then compares his late father with Claudius. Hamlet succeeds in shaming her, prompting her to beg him to stop. The ghost then appears and speaks to Hamlet, telling him to speak to Gertrude. The Queen mistakes their conversation for Hamlet’s madness but Hamlet begs her to change her ways. Hamlet says he repents for killing Polonius but in an offhand manner, and agrees to go to England with Rosencrantz and Guildenstern, then drags Polonius’ body away with a fitting obituary.

Analysis

-          Polonius regards Hamlet as a child as he infantilises him, “Tell him his pranks have been too broad to bear with…” ‘Pranks’ are often associated with mischievous children who don’t realise the magnitude of their actions and are acting for their own entertainment. Polonius underestimates how serious Hamlet is and perhaps doesn’t seek to engage Hamlet otherwise, owing to the diplomatic nature of his job.

-          Hamlet’s gung-ho nature is revealed when he kills Polonius on impulse and says, “Dead for a ducat” This gives indication that he made a bet with himself about killing Polonius eventually. His nonchalant attitude and impulsive reaction gives credence to Polonius’ infantilising of him.

-          Hamlet gains confidence and wit when he accuses the Queen of an illicit relationship, “A bloody deed, almost as bad, good mother, as kill a king, and marry with his brother.” He speaks in blank verse, giving indication of his power in Shakespeare’s eyes, but also, the rhyme sounds childish. This may be Hamlet intentionally acting childish to chide the Queen into revealing the truth.

-          There are some confusing feelings that Hamlet exposes when conversing with his mother, “such an act that blurs the grace and blush of modesty”.  Hamlet has an odd attraction and concern with his mother’s modesty, arguably because he wants her to stay pristine and because there is a level of incestuous attraction for her.

-          This argument is supported by Hamlet saying, “takes off the rose from the fair forehead of an innocent love”. The association with innocence and the rose suggests that this is a metaphor for virginity. Hamlet is increasingly concerned with Gertrude’s sex life, which may well be indicative of his attraction to her.

Act 4, Scene 1

Summary

Gertrude reports back to Claudius that Hamlet killed Polonius. Horrified, Claudius sees that he was a potential target for Hamlet’s sword and seeks to restrict his movement. He calls upon Guildenstern and Rosencrantz to track Hamlet down and remove him from the country, without placing blame directly upon him for fear of harming the state.

Analysis

-          An insight into how patriarchal 15^th Century Scandinavia was, is given when Claudius demands to know why the Queen is sighing heavily, “’tis fit we understand them.” The action of sighing is quite vague and non-leading, yet Claudius uses his power as a husband to demand an answer.

-          The Queen’s desperation is shown when she uses hyperbole, imagery and simile in one line, “Mad as the sea and wind when both contend…” She uses exaggerated language and compares Hamlet’s madness to nature In order to put comprehension of it almost beyond Claudius’ capability. She does this, arguably, to distance herself from Hamlet and force Claudius’ hand.

Act 4, Scene 2

Summary

Rosencrantz and Guildenstern ask Hamlet where the corpse of Polonius is. Hamlet continues to answer in nonsensical ambiguity, knowing that they are asking as informers of Claudius. Nevertheless Hamlet agrees to see the King.

Analysis

-          An inclination of Polonius’ standing amongst even those close to Claudius is evident when Rosencrantz refers to his body as, “the dead body”. He doesn’t refer to him in the honourific form or with any clear sense of respect.

-          Hamlet’s relationship with the pair is obvious when he says to Rosencrantz, “Besides, to be demanded of a sponge”. Hamlet both compares him to an animal, conveying his distaste for Rosencrantz by dehumanising him; but also suggests that he acts as a lapdog to the King.

Act 4, Scene 3

Summary

Claudius now interrogates the guarded Hamlet over the whereabouts of Polonius. Hamlet devolves into cryptic rhyme and hints at Polonius being dead and buried. The King orders him to England and then in soliloquy, plans his execution.

Analysis

-          Claudius’ opinion of his subjects is apparent when he refers to them in a derogatory manner, “He’s loved of the distracted multitude”. The inclusion of the word ‘distracted’ suggests that he believes the masses to be confused by Hamlet’s actions, further suggesting that they are not particularly intelligent.

-          Hamlet’s murder of Polonius takes on a spiteful level when he describes the worms feasting on his flesh, “certain politic worms are e’en at him” Hamlet makes mention of Polonius’ diplomatic role and arguably implies that he had an undue involvement in politics, such is not the job of a diplomat.

-          A biographically contextual insight into Shakespeare’s mind can be seen when he makes continual reference to “England”, being the home of the author. One may argue that it is evidence of narcissism.

Act 4, Scene 4

Summary

Fortinbras and his army arrive in Denmark, claiming that they have been granted safe passage towards Poland. Hamlet meets with one of the Norwegian army captains and they muse over the futility of the violence. This spurs Hamlet to consider why he has not avenged his father, when a whole army draws blood for no apparent reason but honour and glory.

Analysis

-          Hamlet and the Captain have different interpretations of the conquest in Poland. The Captain speaks with a sarcastic tone, “We go to gain a little patch of ground that hath in it no profit but name” The two lines have a natural rhythm to them and he appears to be musing over the military exploit. His mood towards it is apathetic and could arguably be an indication of Shakespeare’s opinion of military violence. The Captain speaks in iambic pentameter, elevated the strength of his message, despite his appearance in the play being a cameo. Conversely, Hamlet initially shares the Captain’s sentiment, but in his soliloquy he uses the madness of war as a prompt for his own revenge. His opinion contradicts the Captain’s flatly and he embraces violence. If the Captain represents Shakespeare, being caught in the mindless violence but being powerless to stop it, despite disagreeing; Hamlet is truly mad. Shakespeare appears to have a narcissistic streak, and if this is correct, he is intimating that Hamlet deviates from his own belief-set and thus must be insane.

Act 4, Scene 5

Summary

Ophelia asks for an audience with Gertrude. Initially, Gertrude is reluctant to accept the request, but after learning quite how distraught Ophelia is, she accepts. Ophelia enters the scene singing songs about love and death. It becomes apparent that she is mourning the death of her father, the loss of Hamlet and arguably the loss of Hamlet’s father. Horatio appears and interprets her madness as grief. Laertes returns from France and immediately rushes in and blames Claudius for Polonius’ death in his fury. Claudius eventually manages to calm Laertes down to the extent that he will concede that his father’s death wasn’t Claudius’ doing. Laertes seeks revenge. Claudius compromises with Laertes and offers to help him avenge his father’s death through anybody he deems to be guilty.

Analysis

-          The Queen appears naïve when she agrees to let Ophelia in when she learns of her distress, “Let her come in…” Gertrude is aware that Hamlet has left and Ophelia’s father is dead, yet upon learning that she is upset, she grants her an audience when she previously did not. It seems as though Gertrude has ignored the obvious and is completely oblivious of Ophelia’s feelings.

-          Ophelia may have confused sexual feelings for Hamlet as she makes a sexual reference in, “by cock”

-          Laertes circumstances are very similar to Hamlet’s; there is a parallel between them, “only I’ll be revenged most throughly for my father.” Both characters have a fixation on revenge for their fathers. Where they differ; Hamlet‘s attention is drawn elsewhere (relationship with Ophelia, partly) and his sanity is debatable, whereas Laertes is focused and motivated by anger, rather than Hamlet’s sadness.

Act 4, Scene 6

Summary

Sailors bring Horatio a letter from Hamlet. It reads that his ship to England was hijacked by pirates. He jumped onto their ship in retaliation, but found himself a lone prisoner. In striking a deal with the pirates he is docked in Denmark and the pirates have access to the King.

Analysis

-          An indication of the religious context of play is when the First Sailor says, “God bless you sir.” The reference to God being consistent throughout the play puts greater emphasis on Hamlet’s “to be or not to be” soliloquy, as his atheistic thoughts would have been completely taboo and unheard of.

Act 4, Scene 7

Summary

Laertes is confused to why no action has been taken against Hamlet. Initially, Claudius explains that he loves Gertrude, and she loves Hamlet, plus he holds esteem in the realm. Claudius then receives the letter and learns that Hamlet is in the country again. If Hamlet will not go to England, Claudius is prepared to grant Laertes the means to avenge his father. The audience learn that Laertes is a master swordsman. It is understood that Hamlet and Laertes should duel, but Claudius plans replace Laertes’ foil with a solid rapier and lace it with poison; then provide a drink for Hamlet if he survives, also laced with poison. Suddenly the audience learn that Ophelia is dead. She drowned whilst putting a garland on a willow branch. Laertes’ anger explodes and Claudius fears that he will act on impulse and his attempts to calm him have been in vain.

Analysis

-          In Hamlet’s letter, he exercises comedy but jokingly flirting with the King, “…leave to see your kingly eyes” It appears as though Hamlet is speaking of Claudius’ eyes as if he is attracted to them and as if they are a feature to be in awe of. Naturally, Hamlet is essentially insulting the King and being sarcastic.

-          The King seeks to insight more rage in Laertes when he says, “…and that in Hamlet’s hearing, for a quality wherein they say you shine.” Claudius ignites Laertes’ emotions and speak on behalf of Hamlet despite any evidence of his sentiments.

-           

Act 5, Scene 1

Summary

The sexton and his first mate are discussing whether it is fair for the suicide of a noble to be given permission for a Christian burial over someone who wasn’t a lady of the court. Horatio and Hamlet enter the scene as a grave is dug. Hamlet enquires as to whose it is but the gravedigger refuses to give a clear answer. As he digs, they uncover the skull of Hamlet’s former Jester; Yorick. Hamlet broods over the inevitable nature of death; that it pervades class, religion, intelligence and personality and never discriminates.  Ophelia’s funeral procession enters and Hamlet is (naturally) distraught. Laertes in his grief, jumps into the grave and demands to be buried alive with his sister. Hamlet and Laertes grapple and after being parted, Hamlet declares his love for Ophelia. Hamlet visits Guildenstern and Rosencrantz’s outpost and procures an order for his beheading, which he takes back to Horatio, who is shocked.

Analysis

-          Historical and religious context is further revealed when the 1^st Clown arguably makes a Humanist reference, “se offendo” Christian Humanists (notably Erasmus) argued that the true meaning of the Bible was lost when it was translated from Latin (which se offendo is in). In the context of the religious debate at the time, this could be Shakespeare arguing with the inequality of religious ceremonies.

-          The 1^st Clown also makes a reference condemning the inequality of funerals in their relation to social standing, “and there more pity that great folk should have countenance in this world to drown or hang themselves”. This resembles a Marxist point of view, which social standing creates privilege and power; further that this is unjust (that said, this is centuries prior to the conception of Marxism). The irony of this is that the clown speaks sombrely about a serious topic. Similarly, the Captain spoke ill of the point of war. Shakespeare uses comedy and minor characters to convey his true (rather liberal) opinion.

Act 5, Scene 2

Summary

Hamlet visits Guildenstern and Rosencrantz’s outpost and procures an order for his beheading, which he takes back to Horatio, who is shocked. He rewrites the order with the pair as the victims for execution and seals it with the royal seal. Osric tells Hamlet of a bet that Claudius had put on Hamlet in duel with Laertes, but Hamlet ignores this and uses nonsensical language to irritate him and entertain himself. The bet involves Laertes being unable to score three more hits than Hamlet, which Hamlet decides to win on for the King. Horatio warms Hamlet that he may lose and offers to help him withdraw but Hamlet declines, despite being anxious. Before they duel, Hamlet apologises to Laertes for killing his father, and explains that it was in his madness. Laertes answers politely. In the duel, Laertes rejects the poisoned foil and they duel without the unfair advantage (without Laertes’ knowledge). Hamlet wins two blows (innuendo not intended) and Claudius drinks to him and puts a pearl in a cup and offers it to Hamlet, but Hamlet declines. Gertrude drinks from the poisoned cup before Claudius can stop her. Still in the fight, Hamlet wounds Laertes with the poisoned rapier (which was intended for Laertes). Gertrude dies of the poison and Hamlet demands an answer to her sudden death. Laertes explains his knowledge of the poisoned rapier and blames it on the King. Hamlet stabs the King and makes him drink the poison so he dies. After this, Laertes suggests he and Hamlet reconcile their differences. Hamlet agrees to this as Laertes dies; himself not far from it. Fortinbras arrives and Hamlet gives him his vote as King of Denmark before he dies. Fortinbras briefly mourns his death as a potential King and has his body placed on a platform as a sign of honour and respect.

Analysis

-          Hamlet speaks in the third person to give the impression of insanity, “His madness is poor Hamlet’s enemy” He launches a self-deprecating speech with the intention of manipulating Laertes to thinking he is mad.  

Assessment Objectives

On the off-chance that our class were supposed to do this, I'll do it anyway.


AO1 - Having read the text and understanding it, provide relevant and original responses to it. This must be done using correct lexis and without structural, grammatical or spelling errors.
AO2 - Analyse the entirety of the text and apply the analysis to any arguments regarding the author's meaning or intentions.
AO3 - Look at any similarities (or potentially differences) between one text and another, having read the interpretation of other readers. Consider why this is in place and what possible meaning it could have contextually. 
AO4 - Fully consider context (historical, social, political, biographical, religious, etc.)and its influence on the author's message. Use this interpretation to support an argument.