HAMLET GENERAL QUESTIONS GIORDANO'S 5



1. Collect all the evidence bearing on the question of Hamlet's sanity. Don't take Hamlet's words in I,5 out of the context of his possible intention in that scene. Is a mad man even possibly credible as the protagonist of a tragedy?

2. Collect all the evidence which shows Hamlet capable of prompt, decisive action. Enumerate the obstacles, real or imagined, that intervene, when they do between him and direct action. Collect all the evidence that tends to show that he was so absorbed by inner contemplations that he lost touch with and control of the outer world. Under what precise conditions is each true? Try to reconcile the two.

3. Show the contrast along many lines between Hamlet and his environment. What are some of the more important character contrasts in the play?

4. Give as many illustrations as possible that Hamlet's mind dwells upon universals and is not at its best in dealing with particulars. Show that he realizes this weakness. Does this mental imbalance explain his failure?

5. What weight should be given to the events immediately preceding the action of the play--the death of Hamlet's father and the marriage of his mother? Is Hamlet suffering from temporary nervous shock? Would that be an effective subject for tragedy?

6. Show that each of the deaths in the play is related to Hamlet's failures.

7. Why does Hamlet resist performing the ghost's injunctions? There are religious, pychological, ethical and "existential reasons. Identify the major models of each and try for a cohesive answer.

8. Are Hamlet's emotions in excess of the stimulations and grounds of his situation?

9. What is the nature of Hamlet's feelings for Ophelia and of hers for him?

10. Is Gertrude an adulteress, a murderer?

11.Is Hamlet a study of the passion of grief, a ritual/allegorical meditation on the mystery of human life, a revenge tragedy with a flawed or flawless hero, a psychological study of vacillation, an indictment of the evils of the universe or...what else? In short what is central to Hamlet?


HAMLET

DETAILED QUESTIONS

I,1

1. What common knowledge is there between the men at the opening of the scene? How does it affect each singularly?
2. How is the emotional tone set by the opening action? Does 1-69 set the tone for the whole play?
3. How does Horatio's character contrast with the others'?
4. Does this scene show that no one has as yet suspected foul play in the elder Hamlet's death?

I,2

1. Enumerate the ways in which the speaker in 1-50 shows hypocrisy, diplomacy, sound or unsound judgment in foreign policy and the motives of men. Does he seem possessed of personal and intellectual power?
2. How is Hamlet dressed in the scene? Can his present mood be explained by his natural sorrow over his father? Does he suspect anything?
3. What do we know of the Queen from her first speech? Note the difference in tone and meaning between hers and Hamlet's
4. Characterize Hamlet's double intention to the king and queen as evidenced in his replies.

I.3

1. Comment on Laerte's character as shown by the speech to his sister? What is his view about the normal relations between men and women? Is he wise and pure? Does he wish his sister so?
2. Comment on the character of Polonius as displayed in his famous speech? It has been the source of often quoted proverbs for centuries. Does it show wisdom? What in it makes you suspect that the speaker is something other than wise or benevolent? Do you think these are Shakespeare's feelings on the subject? Why or why not?
3. In what respect do Polonius's and Laertes speeches resemble each other? How is the son like the father? How is Ophelia like both?
4. Is Ophelia's character one from which a powerful, lonely and distracted man could renew his strength in the time of his greatest need? What moral and intellectual powers does she display? Consider the proposition that all Hamlet needs is a good woman, either as a mate or a mother, and the tragedy would have been avoided.

I.4

1. What is the value of 8-22 in their application to the character and present state of Hamlet?
2. What do 23-38 say of the speaker and of the poet's purpose in the play? Note their style and how they indicate the speaker's habit of thought.
3. Note the style, power and visualize the action of 39-85

I.5

1.Is there a good reason for a scene change here?
2. Comment on l.40. Has Hamlet voiced his suspicions before?
3. What are the three injunctions laid upon Hamlet by the ghost? Does he remember each and try to fulfill each later? What do you think about the justice of each?
4. Is there any evidence in this scene that Hamlet suspects his mother of having a part in his father's murder?
5. Comment on the tone and purpose of 107-164. What does it say of Hamlet's character and the poet's purpose?
6. Comment on the evidence for madness, nervous shock and almost supernatural quickness of thought in this scene. How have we been exposed to all the elements of the tragedy already?

II.1

1. Comment on how much this Polonius's family trusts each other.
2. Note the difference between Ophelia's and Polonius's interpretation of Hamlet's action. What has disturbed each most and why?

II.2

1. How many instances have we seen so far of weaker natures dominated and controlled for good or bad reasons by stronger ones? Do the good or bad reasons preponderate?
2.Is it perfectly clear that Hamlet is only pretending madness in this scene? Who is completely taken in by this and who isn't?
3.What indications do you find that Hamlet knows of Polonius's plot against him? How could he have learned about it? More than once in the play he discovers intrigue against him by ways that are not shown in the actual lines (staging?) but which must indicate an intellectual power and subtlety that are extraordinary. Ideas, bits of information, guesses, accurate emotional reactions and imaginations flash into certitudes and lines of action. Note how this tragedy could not have happened to a less powerful mind. How tragic is that?
4.The exchange between Hamlet And Polonius is the first bit of extended prose in the play. Why?
5.What evidence is there that Hamlet knows that Rosencrantz and Guildenstern are sent to spy on him. He is onto them with extraordinary quickness. Do we need two lightweights because one would be too light for Hamlet's mind and character?
6. Lines 304-324 are, though prose (why?), much like Hamlet's soliloquies and are uttered by Hamlet in order to convince R&G that he is mad. Why is it that he has only to speak to these two as he normally speaks to himself in order to convince them that he is insane?
7.How does all this talk about players and plays assist the illusion of reality in the play? What does it say about Hamlet's past life and character? Does it advance the action?
8.What reasons does Hamlet give for employing the device of the play in testing the king.? Is he entirely sincere with himself?

III.1

1. What reason is there for thinking that this famous speech belongs at the beginning of Act II? What effect does it have here? What has happened to Hamlet between the two acts if this speech opens III? II?
2.Why does Ophelia so easily consent to act as decoy to the man she loves?
3. How are Hamlet's words to Ophelia applicable to her or are they?
4. At what point does Hamlet's manner change and why?
5.Is the King convinced by Hamlet's show of madness?
6.Consider Ophelia's speech about Hamlet. How does it show that the level of her judgment coincides with that of her family's?
7.What are the leading features of Polonius's diplomacy?

III.2

1. In Hamlet's advice to the players do you hear Shakespeare's voice? Why would Shakespeare abandon his usual reticence, if he does, at this moment for this character?
2.Why does Hamlet choose just this time to bind himself closer to Horatio? What is the leading trait of the latter's character? Would he admire him so much in other circumstances?
3. Why is the action of the play (the poisoning scene)given twice, in dumb show and in rhymed verse? Why does Claudius react only to the second one?
4.Is Hamlet high over his demonstration of the king's guilt or over his success as a director and playwright in showing it?
5. What change is there in R&G's manner here?
6.Which of the three injunctions of the ghost are recalled here and which aren't?

III.3

1.Where has the king shown contrition before? What advantage is gained for the drama in his show of remorse? How its moral validity nullified and to what extent is this shown? What does showing this do for the drama?
2.Is Hamlet a Protestant or Roman Catholic in this scene? Do you suspect Shakespeare of showing his religious beliefs here--in the rest of the play? What might they be?
3. Is the reason given by Hamlet for delaying revenge entirely sincere? Why does he really delay and to what extent is he aware of his own hidden motives if he has them? What would happen were Hamlet to kill the king now?

III.4

1.Consider the queen's attitude toward Hamlet and the level of her moral penetration into the realities of addressing a thirty-year old son. How much does she claim all the prerogatives of motherhood while shunning its obligations?
2.When does Hamlet turn on his mother and why? What makes it possible?
3.Is Polonius's death fitting and just? Is it fitting and just that Hamlet kill him? Is it fitting and just that Hamlet treat it so lightly? (Why does Gertrude lie about his attitude toward this later? Does she?) Why does Hamlet do it and what effect does it have on his position vis a vis the action of the play?
4.From the evidence of this scene what is your opinion about the guilt or innocence of the queen in her husband's murder? What do you think Hamlet's opinion is? Why doesn't he ask her outright?
5. Why doesn't the queen see or hear the ghost of her former husband? Why does the ghost appear and then only to Hamlet?

IV.1

1.Why should a new act begin here?
2.Comment on the Queen's characterization of Polonius and Hamlet.
3. Does the Queen act as she was asked to in III.4 181. Consider l.27.

IV.2
Just enjoy Hamlet's wit. Notice how high he is--much like he was right after the tr iumph of his play within a play or is this different, is it whistling in the graveyard?

IV.3

1.Lines 48-50 recall III.4 199-204. Are they consistent? Where must have Hamlet learned this?
2. Give more than in reason why Hamlet is not sorry to start for England.

IV.4

1.How is Fortinbras a foil for Hamlet? Start considering that a father avenger as the main character is flanked by two father avengers as minor ones. Consider a three way comparison/contrast paper with Hamlet as the center.
2. What reason besides as foil for Hamlet and as an occasion for yet another self-accusing soliloquy (Note how addicted to these Hamlet is and consider why.) does Fortinbras's army march through here now--recall the permission that Claudius allows to the two other father avengers in the first act but denies to Hamlet.

IV.5

1. Comment fully on 17-20. What do these lines indicate about the Queen's feeling of complicity in or guilty knowledge (and when learned) of what murder?
2.Does Ophelia know how her father met his death? Is she speaking of him at all? Why has she lost her mind? How much mind did she have to lose and what would cause it, i.e. what are her criteria for judging reality and how and why do they fail her?
3. Consider 109-110. What does this say of Gertrude's loyalties? Has something happened since IV.1?
4. Does Claudius show true nobility and courage in 120-5? How might the scene be staged?
5. Consider that Gertrude is present during 139-150. She must know something about what he intends and yet the king postpones further talk with Laertes in 200-210. Gertrude is clearly innocent of knowledge of the plot that kills her so--what is the extent of their confidence and what does that say about the guilt and innocence of each?

IV.6

1. The intervention of the pirates is a remarkable stroke of coincidence (usually considered a plot fault in a crucial turn of the plot--which this is), is there any indication in this scene that it was not a coincidence? If so, why would Hamlet conceal information from Horatio in a letter to him?

IV.7

1. Consider the reasons the king gives Laertes for not acting against Hamlet openly. Is he credible on the first ? As to the second, what evidence do you have that Hamlet would be the kind of man to inspire the public's loyalty and love? Consider how they rallied behind Laertes. What does this do to credit or discredit Hamlet's course of action if anything?
2. Consider what the king's intended speech to Laertes would have been without the interruption of Hamlet's letter. How is the king preparing Laertes for that?
3. The king shifts immediately to another plan (consider the irony of lines 60-1) Laertes is an eager plotter. Consider what it says of either his faith in himself, in Hamlet or what it says of his moral character that he comes up with the poisoned foil plan. Does he believe the king's flattering story of the praise the Frenchman made of him? Why couldn't he have just outfought Hamlet with an unpoisoned foil; what difference would that have made in the honorableness or dishonorableness of his revenge? Recall that if Hamlet is entitled to revenge, so is Laertes. Do you feel that one of the two is more entitled and why?
4. Claudius comes up with the poisoned goblet and so each man chooses the instrument of his own death. How much faith does this show in Laertes? Is the king aware that his flattery was groundless, is he acting out of fear or vindictiveness or just reverting to his old modus operandi in coming up with the scheme?
5.What is the emotional and dramatic point of the queen's lyrical description of Ophelia's death?

V.1

1. How does this scene advance the action and prepare the audience for later events. What important character contrast does it emphasize? Comment on its emotional range.
2.Is there something false about Laertes's mourning? What would motivate it? What false note does Hamlet catch in it which he parodies?
3. Does the age of Hamlet revealed in this scene surprise you?

V.2

1. Is it consistent that Hamlet praise rashness and indiscretion? Where has this trait been illustrated before?
2.What is the purpose of 1-62, uttered with such relish and phrased so beautifully and accompanied by an aside that shows Hamlet to be very much a knowing and enthusiastic critic of prose style. (Consider all the evidence of Hamlet's passionate judgment of how words are used and spoken.) Note how enthusiastically he recounts his actions. What does this show of Hamlet's capacity for action and bloodshed?
3. To whom is Horatio referring in 63? Consider Hamlet's immediate reply.
4. Did Rosencrantz and Guildenstern get justice? Do you think they knew what was in the letter they were bearing to the king of England? Does it matter much? To whom?
5. Hamlet notes the parallel between himself and Laertes and wishes to reconcile with him? Why? What is the value of this for future events?
6. Osrick is a messenger from the king. Polonius served that function before. The second messenger is from the queen (in his abstruse and tortured reference to the king he never refers to himself as the messenger the king chose while his reference to the queen is direct and unequivocal) R&G served that function before. Aside from preserving the pattern of Hamlet always getting two messengers, what possible purpose could the second messenger serve? Is it important that the king's messenger is ridiculed for his effeminacy and ornately fashionable diction and that the queen's should be virile and terse to a fault. Is that all?
7. Compare Hamlet's and Laerte's speeches before the match . Note that Hamlet expects more than a mere fencing match is going to occur and that he measures Laerte's offended honor by his own. Note also that, however beautifully he speaks, he is lying--unless you think he thinks himself mad. What do you think about the moral performance Hamlet displays here? Compare it to Laertes rather vile and treacherous bit of hypocrisy. Note how differently phrased and rhythmned these speeches are, how individual and accurate they are to each character. Note, in short, Shakespeare working at a level of genius no one before or after has ever rivaled.
8. Hamlet enunciates his critical change of mind in 10 -11 and 208-213. Does the end of the play support it? Note that Hamlet fails where a lesser man might have succeeded. Is there divine or poetic justice in that? What does he fail at--carrying out the ghost's injunctions or realizing and exerting fully his talents as a man--that most moves you to consider the question of justice?
9. What rest is "silence?"
10. Hamlet cedes the throne to Fortinbras. Does he seem to recognize his greater fitness to assume it? What do you think?

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