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Hamlet Act 3 The Climax The Point of No Return The Height of Suspense and Tension.

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Presentation on theme: "Hamlet Act 3 The Climax The Point of No Return The Height of Suspense and Tension."— Presentation transcript:

1 Hamlet Act 3 The Climax The Point of No Return The Height of Suspense and Tension

2 Scene 1: King, R, G, Queen, Pol, Ophelia, Hamlet The king and queen question R & G, and Claudius is becoming impatient: he has started a new refrain in labelling Hamlet as "dangerous." The rest of the scene becomes a test of Hamlet's madness: is Hamlet insane? What are they interested in knowing? What does R & G tell them? After Polonius joins the royals, the King’s aside reveals something about what’s going on inside his dastardly little head: it should change our perceptions of him, the Ghost, and Hamlet for the rest of the play. What do we learn from this? Group 1

3 Hamlet’s famous speech Hamlet's speech is not technically a soliloquy because he is overheard by Ophelia: it is, however, an honest indicator of his mood and thoughts. Read for both content and style, then consider: Tone: Hamlet is objective, meditative, and calm o How does this tone add to our understanding of his "madness" and his intents? Repetition: In both phrases and structure o Track how he uses the phrase "To die, to sleep" in considering death. How do these two considerations lead us to the "respect/ That makes calamity of so long life"? o Track the use of questions: when he asks about "who would" bear whips, scorns, and fardels, is he speaking about his particular situation or about mankind in general? Is this about the Danish court or all people? How would you know? Conclusion: Hamlet employs an alliterative phrase to link conscience and cowardice. Consider Hamlet's incapability to act. According to this, why won't he? Do you blame him? Group 1

4 In Sum... What is Hamlet afraid of? o Is this fear specific or universal? How does this speech fit with what we know of Hamlet already? How does it add to our ideas about his sanity? Group 1

5 Hamlet and Ophelia Remember that Polonius and Claudius are watching this conversation from behind a tapestry. Hamlet greets Ophelia nicely, then abruptly attacks her. o How does Hamlet play with Ophelia’s emotions? Why would he be cruel? o Cite some examples that show Hamlet doing this. Hamlet’s “get thee to a nunnery” speech is important. o What can the word "nunnery" mean? What could Hamlet literally and figuratively mean? o In what ways could he have good intentions in employing this phrase? o In what ways could he have cruel intentions in employing this phrase? Hamlet attacks Ophelia through accusations against her honor, specifically through her chastity. o Why is Hamlet so angry? Do you think this is an “antic disposition” or do you think real emotions are rising up here? What does Hamlet mean when he says “I have heard of your paintings…”? Who is he REALLY angry at here? Is it possible that Hamlet knows he is being watched? Why or why not? Group 1

6 Ophelia as Target What is Ophelia’s reaction to all of this? o Does she focus on herself or on Hamlet? o What language does she use when discussing Hamlet? o In what way does this speech reveal her loyalties and character? Is Ophelia capable of being more than a pawn in this scenario? o She obeys her father, but she seems to love (or have loved) Hamlet. o In her culture, would we expect that she could disobey her father or trick him?  Do other Shakespearean ladies defy their parents?  What do you think this comparison/contrast indicates about Ophelia's character? Group 2

7 The King’s reaction Claudius seems now settled in his opinion against Hamlet. a. Claudius opens his response by questioning the theory that Hamlet's madness is caused by madness; he then questions that Hamlet is mad at all. If Claudius thinks that "what he spake...Was not like madness", what might we assume he suspects about Hamlet, Hamlet's motives, etc.? b. Claudius ties Hamlet's name to "danger" again: how does the King decide to address this danger, and why? Polonius appears both as a counselor to the King and a father to Ophelia. a. How does Polonius counsel the King in his plans? Is this a positive or negative portrayal of Polonius? Why? b. How does Polonius address Ophelia in the midst of his speech? Is this a dismissal or a comfort to her? Why? Group 2

8 Scene 2: Hamlet, Player, Horatio, Polonius, Ophelia, Queen, King, Player Queen, Player King "The play's the thing" in this scene: Hamlet has pinned his revenge on catching the King's conscience by confronting him with the murder (just play-acted instead of in a direct accusation). If this fails, it is implied that Hamlet will not be able to continue in his revenge. Hamlet gives the players instructions on how to read the play he’s inserted into their play. What is Hamlet's tone and manner in the instructions? What does this reveal about his state of mind? What are some of his instructions? How do these instructions reveal Shakespeare's attitude towards the art theater as well as Hamlet's attitude towards his antic disposition? Group 2

9 Trust and Testing Rosencrantz and Guildenstern are posed in contrast with Horatio in a short interlude before the play. How does Hamlet's praise of Horatio reflect his feelings of betrayal? Do you believe that Hamlet has no one besides Horatio? Why or why not? What does Hamlet tell Horatio to do that implies Horatio is "in" on Hamlet's suspicions and plans? Hamlet's attitude abruptly shifts when "the court" arrives: How does Hamlet act with his family and friends once the play is about to begin? What lines do you think show Hamlet acting a bit crazy? How is he once again playing with Ophelia’s emotions? What happens in the “dumb show” to signal Hamlet's intentions in destabilizing the King's "performance" of innocence? o Do you see how Shakespeare is pitting an act against an act against an act? Claudius acts innocent, Hamlet acts insane, the Players act out the murder... which act will fall apart first? Group 2

10 The Play’s the Thing The Player King and Player Queen discuss loyalty and marriage, especially second marriages. What do the player king and player queen say to one another about remarriage and loyalty to the first marriage? How is it like what happened to Hamlet’s family? In a brief interlude, Hamlet discusses the play with the Queen and King. How does Gertrude's comment that "the lady doth protest too much" reflect her innocence or guilt? How does Hamlet attempt to prick the King's conscience even more? Once the play continues to the murder scene, everything stops because of Claudius. What, precisely, is the King’s reaction to the murder? What does Hamlet think now? How do you know? Group 2

11 Hamlet and the Pipe…and Mom Again, a contrast between Horatio and Rosencrantz and Guildenstern: this time Horatio assures Hamlet that he "did very well note" the King's reaction while Rosencrantz and Guildenstern get into a fight with Hamlet. Guildenstern attempts to summon Hamlet to his mother, and Rosencrantz continues to question Hamlet about his madness. Instead of plainly telling them that he distrusts them, Hamlet discusses a pipe with R & G. What literary device does Shakespeare use here? How is it working to further Hamlet's characterization and his conflict against those he distrusts? Hamlet is left on stage at the end of the scene. What does he say in his soliloquy? In discussing his feelings and intents, what is his tone? Is this "normal" for him? How will he act towards his mother? Group 3

12 Insanity charts Draw a t-chart with insane and sane columns. List all the items that pertain to Hamlet’s behavior on both sides— sane and insane—based on the scenes that we’ve just read and studied. At this point, what do you think about Hamlet’s state of mind? We now know that Claudius is guilty of something: does this change your attitude towards Hamlet? All Students

13 Scene 3: King, Rosencrantz, Guildenstern, Polonius This scene is the most explicit in characterizing the King since we first met him. Now that we know he has something to feel guilty about, everything he has done becomes suspect. In the opening lines, Polonius, Rosencrantz and Guildenstern reveal themselves to be complete toadies, of which fact Claudius takes full advantage. What does the King tell R & G about his intentions towards Hamlet? o Remember: the King gives everyone a reason for sending off Hamlet—what is it? But what could be the REAL reason? o Both R&G validate Claudius' reasoning by making a valid (if misapplied here) argument about the Great Chain of Being: given what happened to Hamlet Sr, in what way is it ironic for the two men to believe that the people suffer if the king suffers? What does Polonius tell the King he’s about to do? Group 3

14 The King’s Soliloquy And there you have it: The King stands alone on stage and reveals "the truth." So what do you think? What’s he saying here, and what is he conflicted about? THEN HAMLET WALKS IN!!!!! Here is his big chance! What does Hamlet say to himself? What does he decide to do (or not do), and why? Is this sound reasoning? Reasoning consistent with his character? How does the scene leave Hamlet and the King—what are their thoughts at the end? In what ways is the dramatic irony brutal here (especially given Hamlet's problem with inaction)? Take a moment to reflect on your biases and assumptions: What do you think about the King at this point in the play? What do you think about Hamlet? Group 3

15 Scene 4: Queen and Polonius; Hamlet Hamlet's conversation with his mother is both honest and absurd: in other words, they finally seem to be talking to each other without pretense, but Hamlet continues to fly off the handle (in spite of his attempts, he seems mad here more than once). Describe the opening interaction between Hamlet and his mother. o How would you describe the tone of Hamlet’s words? o Why do you think questions figure so prominently? Who does Hamlet kill? Why? Do you hold him responsible for this? Why or why not? What is Hamlet’s reaction to this death? In the context of this scene, is the reaction reasonable or strange? Why? Group 3

16 The Queen’s Strange Reaction The queen says, “What wilt thou do? Thou wilt not murder me? Help, ho!” What do you think is happening here? Imagine: you are seeing it on stage… What does Shakespeare want you to think about Hamlet's movement and his relationship with his mother? Group 3

17 Hamlet and his mom: Oedipal much? Hamlet really gives it to his mom. What does he say to her? Consider Hamlet's tone and language as well as the content of his speech: in what ways does his manner of speaking change throughout his speeches? How does Hamlet move among Gertrude's personal, sexual, and political offenses? Do you think he’s justified in saying what he does? Why or why not? Is he following his father’s rules to let guilt and heaven deal with his mom? The Queen doesn't seem to have much of a defense, it seems. How does this reflect on Gertrude? Her relationship with her son? Her relationship with Claudius? is she acting guilty or not? Why? Group 4

18 The ghost returns!!! (And in his nightgown, too!) While Gertrude can't "snap" Hamlet out of his rage, the image of his father (in his nightgown, in his mother's bedroom) certainly does. As Gertrude apparently sees and hears nothing, Hamlet's reaction is confirmation: "Alas, [Hamlet]'s mad." Would you agree or disagree with her? What do we think about the ghost now in terms of Hamlet’s insanity? Is it really there, or is he just imagining it? Has it ever been there? The Ghost speaks to Hamlet once, but stays long enough to confirm that Hamlet alone is affected by him. What does the Ghost say? What do you think his purpose was in appearing? How do you think Hamlet interprets his motives? How does Gertrude treat her son when he is occupied with the Ghost? How does this reflect on her attitude towards her son? Group 3Group 4

19 Could this be reconciliation? Once the Ghost is gone, Hamlet speaks to his mother with an entirely different tone and with an entirely different purpose. What does Hamlet tell his mom? o How is this a more honest and open conversation than his previous interactions with her? o In what ways does he retain some of his hurt and anger, and in what ways does he set some of that aside? Is this sincere? What does he ask her for? o Given your understanding of Hamlet, is it possible that--should Gertrude change--she would be redeemed in her son's eyes? Gertrude says very little to Hamlet as he reveals everything to her (including that he "essentially [is] not in madness/But mad in craft"). o From what little she does say, does she seem to trust Hamlet and honor his requests? o Given that she must "take sides," is she on Hamlet's or Claudius's team? Why? Group 4

20 Tying Up Loose Ends? Why do you think that Hamlet concludes the Act with the plan to send him to England with R&G as well as the image of his taking Polonius out? Does this merely address a reality on the stage that cannot be overlooked (Polonius's body) or is it important that Gertrude hear his reactions? Or is Hamlet attempting to remind his mother about Claudius's spying on (or, worse yet, plotting against) him? Support your answers with references to the events of Act III that develop these characters. Group 4


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