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Act II, Scene 2 Reading Guide

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Act II, Scene 2 Reading Guide Act II, Scene 2 Reading Guide The following is a guide for working your way through Act II, Scene 2. If you're interested in getting the most from the play, then you'll take the time to read the notes in your text. If you aren't, then you probably won't (of course, if you're not interested in getting the most from the play, then you're probably not reading this guide anyway; instead, you're probably Snapchatting someone about how you’re not reading Hamlet and how you’re so over school ) Think of Act II, Scene 2 as a series of six conversations: I. Claudius and Gertrude’s Conversation with Rosencrantz and Guildenstern. In the opening lines of Scene 2, Claudius and Gertrude explain to Rosencrantz and Guildenstern, Hamlet’s childhood friends, that they have been summoned for a particular purpose. R & G, being of a lower order, readily agree to the King and Queen’s request. This conversation is important to the plot, and it introduces and characterizes R & G. II. Polonius’s overblown conversation with Claudius and Gertrude Polonius arrives to inform Claudius that ambassadors Voltemand and Cornelius have returned from Norway (remember why they go to Norway?). However, Polonious also informs Claudius that he has information about what’s “wrong” with Hamlet, information that he thinks will gain him favor with the King. Notice at line 50 that Claudius would rather hear his news about Hamlet BEFORE the news from the ambassador’s about the possibility of war, revealing Claudius’s considerable concern about his Hamlet “problem.” Pay close attention to the news from Norway that Voltemand reveals and how quickly Claudius dismisses it. After Voltemand and Cornelius exit, Polonius’s conversation with Claudius and Gertrude fully reveals his role as a bumbling, self-important sycophant. He’s one of those people who talks too much in an attempt to make themselves seem important (dang, don’t you hate it when you see yourself in literature, and it’s not always a flattering view?) Note how Gertrude calls him out in line 95. We should probably take heed of Gertrude’s admonition to Polonius in regard to how we write essays . However, Polonius does offer one very interesting piece of information: a note from Hamlet to Ophelia. Pay close attention to it, particularly the four lines of poetry that Hamlet writes to her. Because this was a private note from Hamlet to Ophelia, we must take it not only as a genuine expression of love but as a kind of warning, as if Hamlet is telling Ophelia that in the near future she may have cause to doubt his love, but that she should not. Finally, Polonius recommends a plan to further verify what’s “wrong” with Hamlet. III. Hamlet's conversation with Polonius Stage directions - Be sure to note the stage directions in brackets, particularly the “[aside]” in this scene. An aside is when characters momentarily talk to themselves instead of to the other characters on the stage, and it is presumed that the other characters do not hear the aside. Asides differ from soliloquies in that there are other characters present on stage and asides are only brief interruptions to dialogue, whereas soliloquies are often extended speeches that stand on their own. Think of an aside as an character talking to himself for a moment. Hamlet's sarcasm and irony - One of Hamlet's salient characteristics is wit. "Wit," at least in the traditional sense, does not mean mere humor. More accurately, "wit" refers to a keenness of mind, a mental acuity that often manifests itself in the ability to make quick, clever comments. Consequently, Hamlet's conversation with Polonius is full of sharp, verbal barbs that Polonius doesn't quite fathom, although he senses that Hamlet's remarks seem to have other meanings, hence Polonius's aside, "Though this be madness, yet there is method in't," which gave birth to the English cliché, "There's method in his madness." Although much of this conversation is filled with irony, Hamlet is genuine when, as Polonius leaves, he exclaims, "These tedious old fools!" iv. Hamlet's conversation with Rosencrantz and Guildenstern Vulgar humor - Rosencrantz and Guildenstern are Hamlet's childhood friends, so he knows them fairly well. Note the bawdy humor as they greet each other (again, read the notes to get the full effect of Shakespeare's low humor). Tone shift - Although the conversation begins with the three jesting with one another, note Hamlet's shift toward seriousness and even anger at his friends. Hamlet's explanation of himself - At approximately line 257, Hamlet begins a beautiful and earnest explanation of his current state of mind. His line begins with, " I will tell you why," although the speech itself really begins with, "I have of late." Read this as if it were a poem (you know what I mean, right? Read it closely so that A.) you understand what he's saying and B.) you appreciate the elegance of Shakespeare's poetics. This speech is a rare moment (other than in the soliloquies) when Hamlet lets his guard down and speaks without an ulterior motives. v. Hamlet's conversation with the Players Polonius's introduction of the players - Hamlet continues his sarcasm toward Polonius as Polonius informs him of the players' arrival, and Polonius continues his verbose pretentiousness. Again, read the notes. Just because Polonius doesn't get Hamlet's comments doesn't mean that we shouldn't. Don't be Polonius. Hamlet's theatrical knowledge - The scene with Hamlet and the Players is a kind of thespian jam in which Hamlet and one of the actors play a bit of a scene off the tops of their heads. Hamlet is extraordinarily knowledgeable about theater (not unlike many of you are extraordinarily knowledgeable about movies). The lines that he quotes are not random lines; these lines are relevant to what's going on in Hamlet. Be patient with them, and also note Polonius's response: "This is too long." As Hamlet implies, if a play doesn't have a fight scene or a car chase or a bit of sex in it, Polonius falls asleep, implying further than Polonius is shallow. Don’t be Polonius. vi. Hamlet's conversation with himself Self-references - Pay attention to the words that Hamlet uses to describe himself. Not pretty. Comparison - For much of the soliloquy Hamlet refers to the Player who has just given the speech. Hamlet refers to him for the sake of comparison with himself and his current situation. Inspiration - The Player's speech becomes a bolt of inspiration for Hamlet and his course of action. Pay attention to what he intends to do. .
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