Hamlet Study Guide10comp

Total Page:16

File Type:pdf, Size:1020Kb

Hamlet Study Guide10comp Hamlet Study Guide Levels Two & Three Wilson Know the Characters: Hamlet – Prince of Denmark Claudius – Hamlet’s Uncle; he was recently crowned king of Denmark Gertrude – Queen of Denmark; Hamlet’s mother Polonius – Advisor to the King Ophelia – Hamlet’s love interest; Polonius’ daughter Laertes – Polonius’ son Ophelia’s brother Horatio – Hamlet’s best friend; voice of reason in the play Fortinbras – Prince of Norway; wants to regain land lost by his father Courtiers: Rosencrantz – Noblemen and acquaintances of Hamlet invited to cheer him Guildenstern – up Osric - a courtier whose most important task is setting up a duel Cornelius Voltemand – Ambassadors charged with going to Norway Officers, Soldiers, and Servants: Francisco – Marcellus – Soldiers who first witness the ghost while on guard Bernardo – Reynaldo – Servant to Polonius Act One, Scene One 1. What is the setting for the play? Denmark; Elsinore Castle 2. What are Bernardo and Francisco doing at the beginning of the play? They are on watch; it is midnight and shifts are changing. 3. What is going on that makes this necessary? There is a military threat from Norway, in the form of Young Fortinbras. 4. Why is Horatio summoned to the roof of the castle? The want him to witness and/or validate the appearance of the ghost of the dead king. 5. What decision does Horatio make after witnessing what he does? He decides to tell young Hamlet, because he thinks the ghost will speak to him. Act One, Scene Two 6. What has recently happened in Hamlet’s family? His father died and his mother married his uncle. 7. Why is Hamlet being scolded by his uncle? His uncle feels Hamlet has been mourning his father for too long. His mother, Gertrude, tells him to stop dressing in dark clothing. 8. What does Laertes request of the King? Laertes asks for permission to return to France. 9. How is Hamlet responding to his Uncle? What literary technique Shakespeare using, explain and cite examples. He is speaking in puns, plays on words. Examples include “Aye, Madam I am too much i’ the sun.” and “A little more than kin and less than kind.” He speaks in puns so he can criticize Claudius without being accused of rudeness. He always has another (more innocent) meaning to fall back on. 10. What is the audience’s first impression of the prince? Opinion – perhaps intelligent, moody, depressed, etc. 11. What is a Soliloquy? What is the purpose? How is different from a monologue? Monologues and soliloquies are both long speeches by a single character. A soliloquy is when a character is alone on stage. The purpose is to share his or her thoughts with the audience. 12. When is Hamlet’s first soliloquy? What is the topic? After his mother and uncle leave, he is contemplating suicide; he will not do it because it is against his religion. He also discusses his hatred for his uncle. 13. What does this say about his mental state? He is depressed and hopeless; he no longer sees the beauty in things. 14. How do Hamlet and Horatio know each other? They went to school together in Wittenberg 15. Horatio is a very important character of in the play. He is depicted as being rational and scientific. Why might these characteristics be important when put into contrast with Hamlet? Hamlet can be irrational and overly emotional; he needs Horatio as a grounding force. The audience needs Horatio so they know what to believe. 16. How is the ghost dressed? How is this interpreted? The ghost is dressed in armor; it is interpreted as foreshadowing a war. 17. What is the plan? Hamlet will accompany them on the watch and try to speak to the ghost. Act One, Scene Three 18. What advice does Laertes receive from his father before leaving? Polonius advises his son of many things including; not to borrow or lend money, choose his friends carefully, do not fight (but if you have to win), and to be true to himself. 19. What warning does Laertes give his sister Ophelia? That she should be careful of her heart and body when dealing with Hamlet. 20. What is her response? She tells him she will listen if he follows his own advice. Act One, Scene Four 21. What does the ghost want Hamlet to do? The ghost wants Hamlet to follow him to a more private location. Act One, Scene Five 22. Describe the scene between Hamlet and the ghost of his father? Hamlet questions the ghost; we find out that the ghost cannot rest because his sins were un-confessed when he died. 23. What information does Hamlet get from the ghost? He finds out that Claudius killed the king by pouring poison in his ear. Everyone else believes that the king died because he was bitten by a snake. 24. What instruction does the ghost give Hamlet? He instructs him to kill Claudius but leave Gertrude to her own guilt. 25. What is Hamlet’s response? He agrees and says he had a bad feeling about his uncle all along. 26. What does Hamlet make the other witnesses swear? Who are the other witnesses? He makes them swear an oath that they will not reveal what they have seen; Marcellus and Horatio. He also warns them that he may appear crazy. .
Recommended publications
  • Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19.
    [Show full text]
  • Fortinbras Program
    THE MIT COMMUNITY PLAYERS PRESENT FORTINBRAS BY LEE BLESSING THURSDAY–SATURDAY, MAY 22-24, 1997 KRESGE LITTLE THEATRE ON THE MIT CAMPUS FORTINBRAS by Lee Blessing *Produced by special arrangement with Baker’s Plays The Persons of the Play Fortinbras ...................................... Steve Dubin Hamlet ........................................... Greg Tucker (S) Osric .............................................. Ian Dowell (A) Horatio........................................... Matt Norwood ’99 Ophelia .......................................... Erica Klempner (G) Claudius ........................................ Ben Dubrovsky (A) Gertrude ........................................ Anne Sechrest (affil) Laertes .......................................... Randy Weinstein (G) Polonius......................................... Peter Floyd (A, S) Polish Maiden 1............................. Alice Waugh (S) Polish Maiden 2............................. Anna Socrates Captain .......................................... Jim Carroll (A) English Ambassador ..................... Alice Waugh (S) Marcellus....................................... Eric Lindblad (G) Barnardo ....................................... Russell Miller ’00 The Scenes of the Play Act I: Elsinore — ten minute intermission — Act II: Still Elsinore (“S” indicates MIT staff member, “G” indicates graduate student, “A” indicates alumnus, and “affil” indicates affiliation with a member of the MIT community). Behind the Scenes Director............................................. Ronni
    [Show full text]
  • The Story O/Hamlet
    Thestory o/Hamlet The guards of ElsinoreCastle in Denmark have scen a Ghoston the bardcmenrs.Ir lookslike rhe fatherof prince -l'hev Hamlet who died only rwo monrhs bcfore. ask Horario.a youngnobleman and a friendof rhe prrnie, ro watchwith them and to talk to the Ghost.rffhen it appears. it doesnot speak, and disappears from sight. The new King of Denrnark Thc new King ofDenmark is Claudius,Hamler's uncle who hasjust ma[ied the Prince'smother, Gertrude.He allows Laertes,the son of his Lord Chamberlain,polonius. to rcturnto Parrsand urges Hamlel to castoff hismournine. Hamletis srill disrrcssed by his tarher'sdearh and decplv upsel that his mother has marriedbarelv t*o m,rnrh, afterwards.He longsfor deathand cundemnshis mother 'Fraihy, with the words, rhy nameis woman., Hamlet's lorying for death O! that this too too sol llesh toutrt nelt, ThalL)and r.sobe itseu inb a dn) . IInr ueary, shle,tat, and u,tfrolitubb Seemb mea fie usesof rhis;^orLl. Acrr Scii Poloniusbids farewellto hisson.advising him on howa youngman shouldbehave. Polonius's advice to his son l,leithera bonote4 nor a lealer be; Forloa ofi tosesbofi ilsetf dndfri.n t, And bonuA s dul\ th, eds ol hu,bart,j. Thr oboreall. to rhnc mv sctlbe rruc, And mustfoll@^, ttsthe nigtu rheda|, Thoucanst not fien befalse to anJma . Act r Sciii A ghostly rneeting Hamlet,meanwhile, has gone ro the castlebattlcments with Horatio. Vhen the Ghosrappears, he speaksro Hamlel, as the spirit of his dead farhcr. The Ghosrrells how he was l14 hr\ asks.llrrnltt 1o rcvtntle murdcrcd h\ (lhudius lnd lecp thc mcctingsccrer i""ii.-ii"*r",':i;.'.
    [Show full text]
  • The Tragedy of Hamlet
    THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf.
    [Show full text]
  • An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’S Hamlet
    The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Mosley, Joseph Scott. 2017. The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33826315 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet Joseph Scott Mosley A Thesis in the Field of Dramatic Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2017 © 2017 Joseph Scott Mosley Abstract The aim of the proposed thesis will be to examine the complex and compelling relationship between fathers and sons in Shakespeare’s Hamlet. This study will investigate the difficult and challenging process of forming one’s own identity with its social and psychological conflicts. It will also examine how the transformation of the son challenges the traditional family model in concert or in discord with the predominant philosophy of the time. I will assess three father-son relationships in the play – King Hamlet and Hamlet, Polonius and Laertes, and Old Fortinbras and Fortinbras – which thematize and explore filial ambivalence and paternal authority through the act of revenge and mourning the death of fathers.
    [Show full text]
  • The Dramatic Space of Hamlet's Theatre
    Acta Universitatis Sapientiae, Philologica, 4, 1 (2012) 59-75 “The Play’s the Thing” The Dramatic Space of Hamlet’s Theatre Balázs SZIGETI Eötvös Loránd University Department of English Studies [email protected] Abstract. In my paper I investigate the use of the dramatic space in Shakespeare’s Hamlet. The tragedy will be observed with the method of “pre-performance criticism,” which first and foremost makes use of the several potentials a play contains and puts on display before an actual performance; it offers, also in the light of the secondary literature, various ways of interpretation, resulting from the close-reading of the play and considers their possible realizations in the space of the stage both from the director’s and the actor’s point of view, including the consequences the respective lines of interpretation may have as regards the play as a whole. Hamlet does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and scrutinises the very interaction between the dramatic space and the realm of the audience. I will discuss the process how Hamlet makes use of his private theatre and how the dramatic space is transformed as The Murder of Gonzago turns into The Mousetrap-performance. Keywords: Hamlet; The Mousetrap; dramatic space; pre-performance criticism Shakespeare’s Hamlet1 does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and 1 In the present paper I quote the play according to the Norton Shakespeare edition (Greenblatt et.
    [Show full text]
  • Sacred Feminine Symbol Described in Dan Brown’S the Da Vinci Code
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Udinus Repo SACRED FEMININE SYMBOL DESCRIBED IN DAN BROWN’S THE DA VINCI CODE A THESIS Submitted in partial fulfillment of the requirements for the completion for the Degree of Sarjana Sastra (S.S) in English Language specialized in Literature By: Mathresti Hartono C11.2009.01017 FACULTY OF HUMANITIES DIAN NUSWANTORO UNIVERSITY SEMARANG 2013 STATEMENT OF ORIGINALITY I certify that this thesis is absolutely my own work. I am completely responsible for the content of this thesis. Opinions or findings of others are quoted and cited with respect to ethical standard. Semarang, August 2013 Mathresti Hartono MOTTO Good does never mean good and bad does never mean bad. Dare to choose and never look back. Everything can change depends on how you look and handle it, because every things in this world has many sides to be seen. DEDICATION This thesis is dedicated to: - My parents - My family - My University, Dian Nuswantoro University ACKNOWLEDGEMENT At this happiest moment, I would like to wish a prayer to my Lord, Jesus Christ who has blessed me during writing this thesis. Furthermore, I would like to express my sincere thanks to: 1. Mr. Achmad Basari, S.S., Dean of Faculty of Humanities of Dian Nuswantoro University, who gave me permission to conduct this thesis. 2. Mr. Sunardi, S.S., M.Pd., The head of English Department of Strata 1 Program, Faculty of Humanities, Dian Nuswantoro University, who gave me permission to conduct this thesis. 3. Ms.
    [Show full text]
  • The Nikki Heat Novels by “Richard Castle”
    The Nikki Heat novels by “Richard Castle” Heat Wave [2009] of their unresolved romantic conflict and crackling sexual tension fills the air as Heat and Rook embark on a search for a killer among celebrities and mobsters, singers and hookers, pro A New York real estate tycoon plunges to his athletes and shamed politicians. This new explosive case brings death on a Manhattan sidewalk. A trophy on the heat in the glittery world of secrets, cover-ups, and wife with a past survives a narrow escape scandals. from a brazen attack. Mobsters and moguls, with no shortage of reasons to kill, trot out their alibis. And then, in the suffocating grip Heat Rises [2011] of a record heat wave, comes another shocking murder and a sharp turn in a tense journey into the dirty little secrets of the The bizarre murder of a parish priest at a New wealthy. Secrets that prove to be fatal. Secrets that lay hidden York bondage house opens Nikki Heat’s most in the dark until one NYPD detective shines a light. thrilling and dangerous case so far, pitting her against New York’s most vicious drug lord, an Mystery sensation Richard Castle, blockbuster author of the arrogant CIA contractor, and a shadowy death wildly best-selling Derrick Storm novels, introduces his newest squad out to gun her down. And that is just the tip of the character, NYPD Homicide Detective Nikki Heat. Tough, sexy, iceberg that leads to a dark conspiracy reaching all the way to professional, Nikki Heat carries a passion for justice as she leads the highest level of the NYPD.
    [Show full text]
  • CASTLE HILLS Horizon City of Lewisville’S Official Publication August 2021
    CASTLE HILLS Horizon City of Lewisville’s Official Publication August 2021 helmets, and trophies the team earned as they advanced through the playoffs. Three Castle Hills boards approve In conjunction with the exhibit’s opening, the City produced a documentary about the accomplishments of that team. The 43-minute film, produced by City agreement setting annexation date videographer Matthew Thornbury, includes interviews with players, coaches, and students who were part of the magical 1972 season, along with vintage The elected boards of directors for Castle Hills districts 1B and 1D voted footage and photos from that year. Even though the Farmers fell just a yard July 19, to approve proposed amendments to the Castle Hills development short of winning the title, that season remains legendary in the hearts of loyal agreement that sets an annexation date of Nov. 15, 2021. The board of District LHS supporters. The film will shown each day in the exhibit. 1-F voted to approve the amendment on Wednesday. Anyone wishing to see this new exhibit may come to the Lewisville Visitor The 1-B and 1-F boards voted to approve the amendment as presented, while Information Center, Monday-Friday, 8 a.m.-5 p.m. the 1-D board voted to approve the amendment contingent on City ownership of existing parks and green spaces after annexation. The votes are seen as major steps toward planned annexation of Castle Hills into Lewisville later this year. DCTA approves GoZone Five other boards – 1-A, 1-C, 1-E, 1-G, and 1-H – voted this week to table the proposed amendment while negotiations continue related to management of on-demand service Castle Hills parks.
    [Show full text]
  • Hamlet on the Screen Prof
    Scholars International Journal of Linguistics and Literature Abbreviated Key Title: Sch Int J Linguist Lit ISSN 2616-8677 (Print) |ISSN 2617-3468 (Online) Scholars Middle East Publishers, Dubai, United Arab Emirates Journal homepage: https://saudijournals.com/sijll Review Article Hamlet on the Screen Prof. Essam Fattouh* English Department, Faculty of Arts, University of Alexandria (Egypt) DOI: 10.36348/sijll.2020.v03i04.001 | Received: 20.03.2020 | Accepted: 27.03.2020 | Published: 07.04.2020 *Corresponding author: Prof. Essam Fattouh Abstract The challenge of adapting William Shakespeare‟s Hamlet for the screen has preoccupied cinema from its earliest days. After a survey of the silent Hamlet productions, the paper critically examines Asta Nielsen‟s Hamlet: The Drama of Vengeance by noting how her main character is really a woman. My discussion of the modern productions of Shakespeare begins with a critical discussion of Lawrence Olivier‟s seminal production of 1948. The Russian Hamlet of 1964, directed by Grigori Kozintsev, is shown to combine a psychological interpretation of the hero without disregarding its socio-political context. The action-film genre deployed by Franco Zeffirelli in his 1990 adaptation of the play, through a moving performance by Mel Gibson, is analysed. Kenneth Branagh‟s ambitious and well-financed production of 1996 is shown to be somewhat marred by its excesses. Michael Almereyda‟s attempt to present Shakespeare‟s hero in a contemporary setting is shown to have powerful moments despite its flaws. The paper concludes that Shakespeare‟s masterpiece will continue to fascinate future generations of directors, actors and audiences. Keywords: Shakespeare – Hamlet – silent film – film adaptations – modern productions – Russian – Olivier – Branagh – contemporary setting.
    [Show full text]
  • Hamlet Study Guide Levels Two & Three Wilson Know the Characters: Hamlet – Prince of Denmark Claudius – Hamlet's Uncl
    Hamlet Study Guide Levels Two & Three Wilson Know the Characters: Hamlet – Prince of Denmark Claudius – Hamlet’s Uncle; he was recently crowned king of Denmark Gertrude – Queen of Denmark; Hamlet’s mother Polonius – Advisor to the King Ophelia – Hamlet’s love interest; Polonius’ daughter Laertes – Polonius’ son Ophelia’s brother Horatio – Hamlet’s best friend; voice of reason in the play Fortinbras – Prince of Norway; wants to regain land lost by his father Courtiers: Rosencrantz – Noblemen and acquaintances of Hamlet invited to cheer him Guildenstern – up Osric - Cornelius Voltemand – Ambassador charged with going to Norway Officers, Soldiers, and Servants: Francisco – Marcellus – Soldiers who first witness the ghost while on guard Bernardo – Reynaldo – Servant to Polonius Act One, Scene One 1. What is the setting for the play? Denmark; Elsinore Castle 2. What are Bernardo and Francisco doing at the beginning of the play? They are on watch waiting for their replacements. 3. What is going on that makes this necessary? There is a military threat from Norway, in the form of Young Fortinbras. 4. Why is Horatio summoned to the roof of the castle? The want him to witness and/or validate the appearance of the ghost of the dead king. 5. What decision does Horatio make after witnessing what he does? He decides to tell young Hamlet, because he thinks the ghost will speak to him. Act One, Scene Two 6. What has recently happened in Hamlet’s family? His father died and his mother married his uncle. 7. Why is Hamlet being scolded by his uncle? His uncle feels Hamlet has been mourning his father for too long.
    [Show full text]
  • Language, Humour, Character, and Persona in Shakespeare
    Language, Humour, Character, and Persona in Shakespeare Arthur Henry King The rst Oxford English Dictionary (hereafter OED)1 use of “character” as “a personality invested with distinctive attributes and qualities by a novelist or dramatist” is in Fielding’s Tom Jones (1749). OED does not list the Theophrastian2 use reected in sixteenth- and seventeenth-century character-sketches, for example Ben Jonson’s play, Every Man Out of His Humour, “the characters of the persons” (1599),3 those in the then current satires, and in translations and collections.4 Another OED entry under character, “personal appearance” (entry 10) correctly interprets Twelfth Night 1.02.51 “outward character”; but that phrase implies “inward character” too, and OED misinterprets Coriolanus 5.04.26 as the outward sense; but “I paint him in the character” refers to this description of Coriolanus (16-28): He no more remembers his mother now than an eight-year-old horse. The tartness of his face sours ripe grapes. When he walks, he moves like an engine, and the ground shrinks before his treading. He is able to pierce a corslet with his eye, talks like a knell, and his hum is a battery. He sits in his state, as a thing made for Alexander. What he bids be done is nish’d with his bidding. He wants nothing of a god but eternity and a heaven to throne in. I paint him in the character. There is no more mercy in him than there is milk in a male tiger. Compare Coriolanus 2.01.46-65, where Menenius sketches an ironical “character” of himself and makes “character” statements about the tribunes: I am known to be a humorous patrician, and one that loves a cup of hot wine with not a drop of allaying Tiber in’t; said to be something imperfect in favoring the rst complaint, hasty and tinder-like upon too trivial motion; one that converses more with the buttock of the night than with the forehead of the morning.
    [Show full text]