Act 1 scene 2 Flashcards
(28 cards)
- Enter Hamlet, dressed in black *
Visual difference between Hamlet and the rest of the court, emphasising his isolation but also his grief, which contradicts the otherwise content atmosphere created
Claudius’ 1st monologue - “our whole kingdom / To be contracted in one brow of woe”
Constant use of the royal pronoun indicates his untroubled and ostensibly natural accession to kingship, as well as reinforcing his royal authority
Claudius has arrogated to himself the power to speak on behalf of the “whole kingdom”, thereby assuming a monopoly over its emotional state
Claudius opportunistically weaponises the death of his brother to create an atmosphere of national solidarity. In the previous scene, Shakespeare has conversely hinted that his brother’s death has instead polarised Denmark
From a dramatic perspective, this would be reinforced onstage by courtiers who nod uniformly and simultaneously, which evinces a homogeneous response to the king’s words in a manifestation of their support for Claudius
Claudius’ 1st monologue - “our queen […] Taken to wife”
“Queen” and “wife” are separated by five lines, as if Claudius is trying to separate the two concepts so that the courtiers do not dwell on the moral implications of his relationship to Gertrude, and detract from the rushed nature of their marriage
By also describing Gertrude as “imperial jointress” and saying that “hath discretion fought with nature”, Claudius is structurally enabled to shift away from his mourning to the more practical matters of politics, which to him, hold greater importance. Also presents his marriage to Gertrude as a benevolent addition to securing the welfare of the state
Claudius’ 1st monologue - “mirth in funeral and dirge in marriage”
Oxymoron of “mirth” and dirge”, as well as “funeral” and “marriage”, reflects Claudius’ duplicity and the multiple facets of his identity
Claudius’ 1st monologue - “Your better wisdoms, which have freely gone / With this affair along”
Use of hyperbaton presents Claudius’s words as a veiled threat
Comparative “better” flatters the courtiers, and the reminder that they have “freely” accepted his marriage almost imposes Claudius’ opinion and thus authority on the court, by implicating the courtiers in his behaviour
Euphemism “this affair” detracts from the gravity of his hasty courtship of Gertrude
Claudius’ 1st monologue - “Young Fortinbras […] hath not failed to pester us”
Verb “pester” has connotations of a mild irritation rather than a real and significant threat. Overlaid with a dismissive tone, Claudius diminishes Fortinbras. Perhaps this assures the courtiers and also the audience that Claudius has successfully filled the power vacuum which Shakespeare establishes at the outset of the play with the appearance of the Ghost
Claudius also establishes himself as a foil to the “impotent and bedrid” King of Norway, which reaffirms the values of virility and strength, which are needed to be a strong and secure monarch
Claudius’ 1st monologue - “We have here writ”
Firm and monosyllabic phrase reinforces Claudius as a certain and secure ruler who is capable in solving the nation’s problems
“Writ” contrasts description of Old Hamlet “smote”, which further emphasises the difference in Claudius’ rule and how the state of Denmark may be taking a new direction
Claudius’ 1st monologue - “You, good Cornelius, and you, Voltemand […] Farewell, and let your haste commend your duty.”
This foreshadows Claudius’ similar instrumentalisation of Rosencrantz and Guildenstern
Introduction of Claudius portrays him as a competent king who can establish strength and certainty in Denmark
Claudius’ 1st monologue - structure
Claudius’ first words in the play are a lengthy and uninterrupted monologue, which indicates his unquestioned power and how he may use it to wield over the narrative of events that have beset Denmark. Shakespeare indicates that Claudius may enjoy impunity as a result of his position of supreme authority. Claudius also speaks in blank verse, which creates a natural flow and mimics spoken language, further reinforcing just how natural Claudius’ ascension to the throne seems to be. This is reinforced when he delivers a second undisputed monologue.
Claudius - “Laertes, what’s the news with you? You told us of some suit.” “The hand [is not] more instrumental to the mouth, / Than the throne of Denmark [is] to thy father”
Hypophora to show his power
Claudius rewards Polonius’ loyalty by supporting his son.
Hamlet - “A little more than kin and less than kind” “I am too much in the son”
Hamlet’s first line in the play comes an aside
Sarcastic remarks show his quick wit and unhappiness with the situation
Hamlet - “‘Seems, madam? Nay, it is. I know not ‘seems’.”
Dishonours his mother: noun “madam” alludes to her promiscuity
Repetition of verb “seems” enforces how Hamlet believes that Claudius and Gertrude’s grief at Old Hamlet’s death is false
Claudius’ 2nd monologue - “‘Tis sweet and commendable in your nature, Hamlet”
Claudius engineers a political speech which undermines Hamlet whilst creating the illusion of support. The adjectives “sweet” and “commendable” infantilise and emasculate Hamlet
Claudius’ 2nd monologue - “But to persevere / In obstinate condolement is […] unmanly grief.”
Claudius suggests that Hamlet’s grief is also exaggerated through the verb “persevere”
Adjective “obstinate” suggests that Claudius is perhaps suspicious of Hamlet trying to prevent him being king, or else a way to show his lack of support for his new father
Claudius’ 2nd monologue - “let the world take note, / You are the most immediate to our throne”
Claudius confirms to both Hamlet and the court that Hamlet is his heir. This perhaps acts a peace offering
“Let the work take note” perhaps also placates the court
Claudius’ 2nd monologue - “And we beseech you, bend you to remain / Here in the cheer and comfort of our eye”
Another veiled threat; Claudius tries to “bend” Hamlet and control him
“Our eye” acts as a synecdoche for keeping Hamlet close where Claudius can maintain a surveillance on him
Use of euphemisms and flattery suggests that Claudius has darker ulterior motives
Hamlet - “I shall in all my best obey you, madam.”
Hamlet agrees to say not when Claudius asks him, but after his mother. He shows defiance against Claudius
Repetition of “madam” reinforces how Hamlet’s relationship with his mother has become unstable. He still listens to her authority, but not longer respects her
Hamlet’s soliloquy - “O, that this too too solid flesh would melt / Thaw and resolve itself into a dew!”
Repetition of the adverb “too” intensifies Hamlet’s feelings of regret
Hamlet wanting to become “dew” could indicate that he wants to become small or impermanent, perhaps alluding to his feelings of insignificance and unworthiness
Verb “resolve” can be read with double meaning, it can also be seen as a noun for action. Hamlet perhaps criticises himself for not doing anything against Claudius, which becomes a recurring theme throughout the play
Hamlet’s soliloquy - “How weary, stale, flat, and unprofitable / Seem to me all the uses of this world!”
These lines reflect Hamlet’s central problem: because Hamlet doesn’t value action, he does not take it. This attitude is something he must overcome throughout the play in order to avenge his father
Hamlet’s soliloquy - “‘Tis an unweeded garden / That grows to seed.”
Metaphor for life “unweeded garden” and its things “rank and gross” reflect Hamlet’s distaste for life and its mortal conflicts. Perhaps this is why he will accept and even welcome the Ghost’s appearance
Hamlet’s soliloquy - “Hyperion to a satyr”
Hyperbolic comparison of Old Hamlet being like Hyperion vs. Claudius being like a satyr portrays Hamlet’s intense feelings, this is reinforced by exclamatory phrases eg. (“That it should come to this!”)
Hyperion was a mythological titan, god of light and wisdom. Hamlet glorifies and idealises his father.
Bestial imagery regarding Claudius and Gertrude depicts how Hamlet perceives their actions as inhumane and immature
Lecher is associated with the image of a satyr, depicting Claudius as sexually corrupt, which implies that Gertrude was quick to remarry because Claudius is a more adept lover
Hamlet’s soliloquy - “Frailty, thy name is woman!”
Personification of frailty as a feminine trait explains Hamlet’s disgust and contempt of the female characters within the play. Generalisation of women diminishes them to just one characteristic and reduces the dimensions of the female characters, from Hamlet’s perspective
Implication that women are “frail” and weak. eg. Unable to resist temptation, A3.1 - “get thee to a nunnery”
Hamlet - “What is your affair in Elsinore?”
Hamlet questions Horatio his business in Elsinore three times, reflecting his urgent desire for information, as well as perhaps his heightened suspicion following the death of his father and the quick, successive marriage of his mother to his uncle
Horatio answers his question truthfully, signifying to the audience that he is a character Hamlet can trust
Hamlet - “The funeral baked meats / Did coldly furnish forth the marriage tables.”
Oxymoron of “baked” and “coldly” as well as “funeral” and “marriage” further depicts Hamlet’s internal conflict and his isolation, as he seems to be the only one in the court of Elsinore who is discontent with Claudius’ ascension to the throne and marriage to Gertrude
Horatio is an outsider to the court, and so perhaps able to witness the decay of the Elsinore court, which is why he agrees to Hamlet’s remark
