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Hamlet. Literature Curriculum Vi, Teacher and Student Versions. By- Kitzhaber, Albert R

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Hamlet. Literature Curriculum Vi, Teacher and Student Versions. By- Kitzhaber, Albert R REFOR TRESUMES ED 015 917 24 TE 000 217 HAMLET. LITERATURE CURRICULUM VI, TEACHER AND STUDENT VERSIONS. BY- KITZHABER, ALBERT R. OREGON UNIV., EUGENE REFORT NuneER CRP-H-149-84 REPORT NUMBER BR-5-0366-84 CONTRACT OEC-5-10-319 EDRS PRICE MF-$0.25 HC-$1.92 46F. DESCRIPTORS- *CURRICULUM GUIDES, *DRAMA, *ENGLISH CURRICULUM, *2NGLISH INSTRUCTION, *LITERATURE, INSTRUCTIONAL MATERIALS, LITERARY ANALYSIS, RHETORIC, SECONDARY EDUCATION, STUDY GUIDES, TRAGEDY, CURRICULUM RESEARCH, ENGLISH LITERATURE, TEACHING GUIDES, LITERARY GENRES, EUGENE, HAMLET, OREGON CURRICULUM STUDY CENTER, PROJECT ENGLISH, THIS CULMINATING UNIT OF THE 12TH-GRADE OREGON LITERATURE CURRICULUM IS BASED UPON ONE WORK, "HAMLET.* THE TEACHER VERSION INCLUDES DISCUSSIONS OF (1) THE RELEVANCE OF HAMLET'S CHARACTER TO MODERN TIMES,(2) THE PROBLEMS IN THE CHARACTERIZATIONS OF THE GHOST, CLAUCIUS, AND HAMLET,(3) THE FLAY'S THREE-FHASE STRUCTURE,(4) THE FLAY'S RESOLUTION, AND (5) THE "RHETORIC' OF TRAGEDY (I.E., THE MEANS BY WHICH TRAGEDY PROJECTS A SYSTLM OF VALUES). THE STUDENT VERSION CONTAINS AN INTRODUCTORY RATIONALE FOR STUDYING "HAMLET," A DISCUSSION OF THE FLAY'S STRUCTURE, AND QUESTIONS FOR THOUGHT, DISCUSSION, AND WRITING. THE FINAL SECTION OF THIS UNIT POSES QUESTIONS WHICH CRAW ATTENTION TO THE COHESIVENESS OF THE FLAY AND SUGGESTS THAT THIS STUDY OF "HAMLET" BE VIEWED AS THE CLIMAX TO THE STUDY OF THE ENTIRE LITERATURE CURRICULUM. SEE ALSO ED 010 129 THROUGH ED 010 160, ED 010 803 THROUGH ED 010 832, TE 000 195 THROUGH TE 000 220, AND TE 000 227 THROUGH TE 000 249. (RD) CJ` 111 1-4 O OREGON CURRICULUMSTUDY CENTER O LU HAL.LLET Literature CurriculumVI Teacher Version The project 'eported herein wassupported throggh the Cooperative Research Programof the Office of Education, U. S. Department of Health,Education, and Welfare. U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY. OREGON CURRICULUM STUDY CENTER HAMLET Literature Curriculum VI Teacher Version "PERMISSION TO REPRODUCE THIS COPYRIGHTED MATERIAL HAS BEM GRAN BY TO ERIC AND ORGANIZATIONS OPERATING UNDER AGREEMENTS WITH THE U.S. OFFICE OF EDUCATION. FURTHER R:PRODUCTION OUTSIDE THE ERIC SYSTEM REOWIRES PERMISSION OF THE CuPYRIGHT OWNER." The Project reported herein was supported through the Cooperative Research Program of the Office of -Education, U. S. Department of Health, Education, and delfare. LITERATURE CURRICULUM VI Hamlet Teacher Version CONTENTS I. Prefatory.. ... 1 II. How Hamlet Speaksto Us- ...I III. Problems. .9 1 .2 A. The Ghost.. ... ...2 B.Claudius. .. .4 C.Hamlet. .. .. 0 6 IV. Structure.. 0 .8 Phase I.. 7i 8 Phas a II.. 9 . 9 Phase III,.1 aa ** V. Resolution. .. 11 Son and Mother..... ******** .. 11 Revenge . .. 13 The "Philosophical" Problem. 9 .. 15 The Tragic Conclusion..... .. 16 VI.The "Rhetoric" of Tragedy: Values... .. 17 A NOTE ON BIAS The critics have tugged Hamlet this way and that for so long now that it is especially hard to see tidijir ay steadily and see it whole, and it is also most unlikely that anything really fresh and original can be said about "Hamlet and His Problems, " One can hope only to be interesting and thus to sharpen interest in the play. The view set down in the following pages is probably most indebted to G. Wilson Knight's "The Embassy of Death: an Essay on Hamlet, " which first appeared in 1930, and L. C. Knights' "An Approach to amlet, " published in 1960 (available in the former's The Wheel of Fire, Universify Paperbacks, and the latter's Some Shakespeariana."-"----1-rirFieimc., Peregrine Books). Separated by thirty years, they agree in viewing Hamlet somewhat more coldly than Coleridge a century and a half ago and A. C. Bradley sixty years ago. Needless to say, there is not and there never will be any final "authority" on these matters, TEACHER VERSION LITERATURE CURRICULUM V1 Hamlet L. Prefatory Hamlet has been selected for twelfth-grade study in part because we thidar can be made to serve as a "unit ofculmination" in this last year of the six-year curriculum.It is a time when the analytical skills developed in the course of our considerations of the subject- form-point-of-view aspects of literary works can be made to serve ends beyond the primary and important one of initial understanding.It is a time when ultimate questions about values, about taste and judgment, can be fruitfully raised.It ought also to be a time when some intel- ligent attention can be given to what we are calling the "rhetoric" of literature; that is, to questions about the kind of "truth" literature presents, about what it means to "believe in" a play or poem or novel; about something that may be called poetic or dramatic or fictional "persuasion, " about whether the reading of good literature changes us in any important way. As usual, we want to approach all these problems not in a spirit of dogmatism but rather in an attitude of patient and perhaps skeptical inquiry. We have not, however, selected Hamlet simply because it can be used as some sort of pedagogical climax. There are other and perhaps better reasons, many of them self-evident. One, however, is worth noting here and worth emphasizing in the classroom.It is possible that, even more than Julius Caesar and Macbeth and The Merchant of Venice, Hamlet speaks to us, to modern man in this profoundly troubling modern world. The world of Hamlet is of course Shakespearian and it is of course Elizabethan; butin Tii-ii-Vecause the Renaissance was itself "modern" and our world was inherent in itit is also twentieth-century, offering clear proof of the continuity of history, of human experience. 11, How Hamlet Speaks to Us "I do not know, my lord, what I should think. " It is Ophelia's line, spoken to her father in the third scene of Act I, and it refers specifically and with homely pathos to the question of young Hamlet's intentions toward her; but it would serve very well as a motto for the whole play."I do not know, my lord, what I should think." The world of the play is one in which all things seem in flux and nothing can be trusted.It is a play of doubt and disillusion- ment, in the light of which the simplest statements,like that of Ophelia above, take on a double meaning. The first line of the play is the guard'sconventional challenge, peated ina few seconds: "Stand! "Who's there?",to be re- answers are reassuring, Who's there ?"In both instancesthe but the sentinelsvoice the challengewith the Ghost in mind,and "who" theGhost is isone of the important tions for bothHamlet andus. ques- the devil who "bath Is it an "honestghost, " or is itreally il power I Tlassumea pleasing shape" (like who cansmile, and smile,and be a villain")? Claudius, hind the mask? What lies be- Is thereanyone who does notwear one? Hamlet's motheris not what hehas thoughtner to be. What then of Ophelia? "Weare arrant knaves all...Go thy ways to Old friends likeRosencrantz and a nunnery. " be pressed for Guildensternare not exempt and must their motives--thesuspicious questionscome pellmell: "Wereyou not sent for? Isit yourown inclining, tion? Come,deal justly with Is it a freevisita- sical world offers me. Come, come!Nay, speak. "The phy- no comfort. ForHamlet Denmarkis "one o' the of dungeons, "for Rosencrantzand Guildenstern worst at this point iswilling to it is not; andHamlet is nothing either say that "truth" is onlybias, that "there good or bad butthinking makes itso. " Perceiving thisemphasis, C. S.Lewis, remarking ters are all watchingone another, listening, that "The charac- anxiety, " concludesthat "The world contriving, full of lost one's way." of Hamlet isa world whereone has Hamlet speaksto us, III. Problems We proceed with a preliminaryidentification ofsome of the problems in thismost problematicalplay. They lems of character.Keep the number can be defined as prob- Hamlet. of them small:the Ghost, Claudius, In all suchdiscussions remember most part that literaryproblems for the can have only tentativesolutions. Apoem or play is read from differentpoints of view indifferent historical our Hamlet issure to be somewhat periods, so that It is equally true different fromColeridge's. that apoem or play is read fromdifferent points of view in thesame historical period,so that Professor Stoll's is sure to besomewhat different Hamlet Hamlet you will from ProfessorKittredge's, and the encounter in thesepages is sure to besomewhat dif- ferent fromyours. Somewhat.For if we tinizing thesame text, O W& are all conscientiouslyscru- same family. Hamlets should berecognizably of the A. The Ghost What is to bemade of him, of him? what did Shakespeareintend us to make -3- The behavior of Claudius when confronted with "The Murder of Gen- zago" seems to prove that it was an honest ghost--"I'll take the ghost's word for a thousand pounds!" Hamlet cries then to Horatio, and thereafter does not seem to doubt the ghost's truth, and audiences generally do not.But, unlike the bloody shade of Banquo, this is a most voluble ghost and he speaks with the voice of mortal man ( in the original production he was played by an actor named William Shakespeare), his words characterizing himself, inviting us to judge him as amar,: character in a play. What do we find? Simply as a man he must put us ordinary mortals off.His provo- cation is of course considerable, he has been rather badly used. To put it so is flippant, but the convention of the revenge ghost no longer has power to persuade us, and the human accents of this ghost's discourse make it hard for us to believe that we are listening to a man reporting his own"foul and most unnatural murder.
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