Transcript Polite Discussion Michael Round USA Director: Theory of

Joy in Shakespeare
understanding, applying, and enjoying the works of
Shakespeare
Michael Round
Theory of Constraints for Education
8th International Conference
August 11 – August 14, 2005
THE TRAGEDIES
THE HISTORIES
Antony and
Cleopatra
Coriolanus
Timon of Athens
King Henry IV
Part 2
King Henry V
Romeo and
Juliet
Hamlet
Titus
Andronicus
King Henry VI
Part 2
King Henry VI
King Henry VIII
Part 3
Othello
Macbeth
King Lear
Richard III
King Henry IV
Part 1
Julius Caesar
King Henry VI
Part 1
King John
Richard II
Twelfth Night
THE COMEDIES
All's Well That Merry Wives of
Ends Well
Windsor
As You Like It
Comedy of
Errors
Two Gentlemen
of Verona
Merchant of
Venice
Troilus and
Cressida
Winter's Tale
Cymbeline
Love's Labour's
Lost
Measure for
Measure
Taming of the
Shrew
Tempest
Midsummer Much Ado About Pericles, Prince
Night's Dream
Nothing
of Tyre
Ode on a Grecian Urn … John Keats
THOU still unravish'd bride of quietness,
Thou foster-child of Silence and slow Time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fringed legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearièd,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy'd,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea-shore,
Or mountain-built with peaceful citadel,
Is emptied of its folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul, to tell
Why thou art desolate, can e'er return.
O Attic shape! fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form! dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
'Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know.'
A Shakespeare System
HAMLET
Prince of Denmark
Shakespeare, William
Dramatis Personae
CLAUDIUS king of Denmark.
HAMLET son to the late, and nephew to the present
king.
POLONIUS lord chamberlain.
HORATIO friend to Hamlet.
LAERTES son to Polonius.
LUCIANUS nephew to the king.
VOLTIMAND, CORNELIUS, ROSENCRANTZ,
GUILDENSTERN, OSRIC } courtiers.
A Gentleman,
A Priest.
MARCELLUS, BERNARDO } officers.
FRANCISCO a soldier.
REYNALDO servant to Polonius.
Players.
Two Clowns, grave-diggers.
FORTINBRAS prince of Norway.
A Captain.
English Ambassadors.
GERTRUDE queen of Denmark, and mother to Hamlet.
OPHELIA daughter to Polonius.
Lords, Ladies, Officers, Soldiers, Sailors, Messengers,
and other Attendants.
Ghost of Hamlet's Father.
[Scene: Denmark.]
Act 1
Scene 1
[Elsinore. A platform before the castle.]
[FRANCISCO at his post. Enter to him BERNARDO]
BERNARDO
Who's there?
FRANCISCO
Give you good night.
FRANCISCO
Nay, answer me: stand, and unfold yourself.
MARCELLUS
O, farewell, honest soldier:
Who hath relieved you?
BERNARDO
Long live the king!
FRANCISCO
Bernardo?
FRANCISCO
Bernardo has my place.
Give you good night.
[Exit]
BERNARDO
He.
MARCELLUS
Holla! Bernardo!
FRANCISCO
You come most carefully upon your hour.
BERNARDO
Say,
What, is Horatio there?
BERNARDO
'Tis now struck twelve; get thee to bed, Francisco.
HORATIO
A piece of him.
FRANCISCO
For this relief much thanks: 'tis bitter cold,
And I am sick at heart.
BERNARDO
Welcome, Horatio: welcome, good Marcellus.
BERNARDO
Have you had quiet guard?
MARCELLUS
What, has this thing appear'd again to-night?
FRANCISCO
Not a mouse stirring.
BERNARDO
I have seen nothing.
BERNARDO
Well, good night.
If you do meet Horatio and Marcellus,
The rivals of my watch, bid them make haste.
MARCELLUS
Horatio says 'tis but our fantasy,
And will not let belief take hold of him
Touching this dreaded sight, twice seen of us:
Therefore I have entreated him along
With us to watch the minutes of this night;
FRANCISCO
I think I hear them. Stand, ho! Who's there?
[Enter HORATIO and MARCELLUS]
HORATIO
Friends to this ground.
MARCELLUS
And liegemen to the Dane.
THOUGHTS …
Shall we read together …
Let’s role-play, with characters …
Let’s have a discussion …
Mike … what do you think?
A System Problem
No matter how much and how hard I try … I do not understand Shakespeare.
“Understand” does not even encompass my meaning, because I really “do not get it”.
How can I get it? How can I gain a foothold in the play, allowing me to continue
further?
Obstacle
IO
Action
I do not understand
how to read
Shakespeare.
I have a means to
“get into”
Shakespeare
material.
I use “any means
necessary” to get a
foothold in
Shakespeare.
The “Action Item” Goal
What constitutes “any means necessary”? Just that! An internet summary, a movie, a
conversation, a great quote, etc.
This may be a “necessary condition” to get me “into Shakespeare”, but is this
“sufficient”?
How can we leverage this foothold, and not lose ground?
I logically understand my
foothold by way of the
logic branch.
Iterate with clarity and
causality reservations
checked …
Employing the action item,
I gain and maintain a good
foothold in a work of
Shakespeare.
Thinking Process Language
Thinking Process Language
Hamlet wants to
avenge his father's
murder.
Hamlet, the King's
son, learns of his
father's murder.
The King of
Denmark has
unexpectedly died.
Initially believing
the death was
accidental, Hamlet
now seeks justice.
The King's Ghost
appears, and tells
Hamlet the death
was murder.
Shakespeare Langu
Shakespeare Language
Shakespeare Language
Ghost:
I am thy father's spirit,
Doom'd for a certain term to walk the night,
And for the day confined to fast in fires,
Till the foul crimes done in my days of nature
Are burnt and purged away. But that I am forbid
To tell the secrets of my prison-house,
Ghost:
Revenge his foul and most unnatural murder.
Hamlet:
Murder!
Ghost:
Murder most foul, as in the best it is;
But this most foul, strange and unnatural.
Hamlet:
Haste me to know't, that I, with wings as swift
As meditation or the thoughts of love,
May sweep to my revenge.
Ghost:
Wouldst thou not stir in this. Now, Hamlet, hear:
'Tis given out that, sleeping in my orchard,
A serpent stung me; so the whole ear of Denmark
Is by a forged process of my death
Rankly abused: but know, thou noble youth,
The serpent that did sting thy father's life
Now wears his crown.
Hamlet:
O my prophetic soul! My uncle!
Narrative Language
The guards at the palace gates are confronted by the Ghost of the
King of Denmark. The King has died, and the King's brother,
Claudius, has ascended to the throne. The King's death was
believed accidental, but now the ghost tells his son, Hamlet, the
death was murder, and Claudius the murderer! With this
information, the justice-seeking Hamlet seeks to avenge his
father's murder.
Narrative Language
The Context of the Play
Thinking Process Language
Hamlet wants to
avenge his father's
murder.
Hamlet, the King's
son, learns of his
father's murder.
The King of
Denmark has
unexpectedly died.
Initially believing
the death was
accidental, Hamlet
now seeks justice.
The King's Ghost
appears, and tells
Hamlet the death
was murder.
The guards at the palace gates are confronted by the Ghost of the
King of Denmark. The King has died, and the King's brother,
Claudius, has ascended to the throne. The King's death was
believed accidental, but now the ghost tells his son, Hamlet, the
death was murder, and Claudius the murderer! With this
information, the justice-seeking Hamlet seeks to avenge his
father's murder.
Shakespeare Language
Ghost:
I am thy father's spirit,
Doom'd for a certain term to walk the night,
And for the day confined to fast in fires,
Till the foul crimes done in my days of nature
Are burnt and purged away. But that I am forbid
To tell the secrets of my prison-house,
Ghost:
Revenge his foul and most unnatural murder.
Hamlet:
Murder!
Ghost:
Murder most foul, as in the best it is;
But this most foul, strange and unnatural.
Hamlet:
Haste me to know't, that I, with wings as swift
As meditation or the thoughts of love,
May sweep to my revenge.
Ghost:
Wouldst thou not stir in this. Now, Hamlet, hear:
'Tis given out that, sleeping in my orchard,
A serpent stung me; so the whole ear of Denmark
Is by a forged process of my death
Rankly abused: but know, thou noble youth,
The serpent that did sting thy father's life
Now wears his crown.
Hamlet:
O my prophetic soul! My uncle!
Narrative Language
Structure Achieved
With a simple structure in place, can I integrate another aspect of the story … again,
drawn from ANYWHERE? What does “integrate” mean? By way of the thinking
process reservations and logic as the non-contradictory identification of reality, can I
complete additional “logic chains” of “TP / Shakespeare / Narrative”?
The Context of the Play
Thinking Process Language
Hamlet wants to
avenge his father's
murder.
Hamlet, the King's
son, learns of his
father's murder.
The King of
Denmark has
unexpectedly died.
Initially believing
the death was
accidental, Hamlet
now seeks justice.
The King's Ghost
appears, and tells
Hamlet the death
was murder.
The guards at the palace gates are confronted by the Ghost of the
King of Denmark. The King has died, and the King's brother,
Claudius, has ascended to the throne. The King's death was
believed accidental, but now the ghost tells his son, Hamlet, the
death was murder, and Claudius the murderer! With this
information, the justice-seeking Hamlet seeks to avenge his
father's murder.
Shakespeare Language
Ghost:
I am thy father's spirit,
Doom'd for a certain term to walk the night,
And for the day confined to fast in fires,
Till the foul crimes done in my days of nature
Are burnt and purged away. But that I am forbid
To tell the secrets of my prison-house,
Ghost:
Revenge his foul and most unnatural murder.
Hamlet:
Murder!
Ghost:
Murder most foul, as in the best it is;
But this most foul, strange and unnatural.
Hamlet:
Haste me to know't, that I, with wings as swift
As meditation or the thoughts of love,
May sweep to my revenge.
Ghost:
Wouldst thou not stir in this. Now, Hamlet, hear:
'Tis given out that, sleeping in my orchard,
A serpent stung me; so the whole ear of Denmark
Is by a forged process of my death
Rankly abused: but know, thou noble youth,
The serpent that did sting thy father's life
Now wears his crown.
Hamlet:
O my prophetic soul! My uncle!
Narrative Language
Hamlet's Problem
Thinking Process Language
Hamlet must
devise a way to
reveal the death as
murder.
Hamlet will not be
viewed favorably
by Denmarkians in
killing his Uncle.
Hamlet wants to
avenge his father's
murder
Shakespeare Language
Hamlet:
Follow him, friends: we'll hear a play to-morrow.
[Exit POLONIUS with all the Players but the First]
Dost thou hear me, old friend; can you play the
Murder of Gonzago?
First Player
Ay, my lord.
Hamlet wants to be
viewed favorably
by his countrymen.
Denmarkians
believe the King's
death was an
accident.
Learning of his father's fate, the furious Hamlet wants to avenge
his father's murder … what son would not? Yet, how has
Hamlet learned of his father's fate? By a ghost? His fellow
Denmarkians, on the other hand, still believe the King's death
was an accident. Should Hamlet avenge his father's death, he
realizes he himself will not be viewed favorably by his fellow
Denmarkians. However, Hamlet - as a Denmarkian - wants to be
viewed favorably by his fellow countrymen! Therefore, Hamlet
must devise a way to reveal the death of his father as murder for
all to see. Only then can justice prevail - in all eyes.
Narrative Language
Hamlet:
We'll ha't to-morrow night. You could, for a need,
study a speech of some dozen or sixteen lines, which
I would set down and insert in't, could you not?
First Player
Ay, my lord.
Consequences of the Play
Thinking Process Language
Hamlet will wait
until the greatest
harm can be done
to the Uncle's soul.
Hamlet knows his
Uncle murdered
his father.
"The Murder of
Gonzago" is
altered, due to
Hamlet.
A quick death is
inappropriate to
the evil done his
father.
The King displays
discomfort at the
new play.
Hamlet has a talk with the actors regarding their past great
performances, and wonders if they can modify the play, "The
Murder of Gonzago", which they do. Expectedly, the King
shows great discomfort at the revised plan, and Hamlet now
knows the Ghost has spoken the truth! His uncle is a murderer.
Hamlet reasons, because a murderer, a quick death is
inappropriate and non-equivalent to the evil done his father.
Hamlet therefore decides he will wait until the greatest harm can
be done the king.
Shakespeare Language
King Claudius:
What do you call the play?
Hamlet:
The Mouse-trap. Marry, how? Tropically. This play
is the image of a murder done in Vienna: Gonzago is
the duke's name; his wife, Baptista: you shall see
anon; 'tis a knavish piece of work: but what o'
that? your majesty and we that have free souls, it
touches us not: let the galled jade wince, our
withers are unwrung.
Hamlet's Injection / Solution
Hamlet:
He poisons him i' the garden for's estate. HisThinking
name's Gonzago: the story is extant, and writ in
choice Italian: you shall see anon how the murderer
gets the love of Gonzago's wife.
Ophelia:
The king rises.
Process Language
The Uncle will
reveal himself as
the murderer of
the King.
Hamlet:
What, frighted with false fire!
The play will
depict how the
King was killed.
King Claudius:
Give me some light: away!
Hamlet:
O good Horatio, I'll take the ghost's word for a
thousand pound. Didst perceive?
Horatio:
Very well, my lord.
Hamlet will speak
to the actors prior
to the play.
The Uncle will see
the death unfold,
and become
uncomfortable.
The script will be
modified to mimic
the actual murder
of the King.
Narrative Language
"Think, Hamlet, think", Hamlet says to himself. "How can I find
out if this apparition tells the truth?" I've got it! Suppose I
somehow devise a plan that makes my uncle reveal himself as a
murderer for all to see? That would do it. But how can I do
this? What murderer reveals himself? There is a play coming to
town. I shall speak to the actors, and change the play "The
Murder of Gonzago" so the plot is consistent with my father's
murder - as told me by the ghost. Seeing the plot unfold, surely
my uncle will display discomfort - deja vu if you will - and he
will therefore reveal himself as the murderer.
Narrative Language
Shakespeare Language
Hamlet:
Fie upon't! foh! About, my brain! I have heard
That guilty creatures sitting at a play
Have by the very cunning of the scene
Been struck so to the soul that presently
They have proclaim'd their malefactions;
For murder, though it have no tongue, will speak
With most miraculous organ. I'll have these players
Play something like the murder of my father
Before mine uncle: I'll observe his looks;
I'll tent him to the quick: if he but blench,
I know my course. The spirit that I have seen
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me: I'll have grounds
More relative than this: the play 's the thing
Wherein I'll catch the conscience of the king.
[Exit]
Hamlet's Problem
Thinking Process Language
Hamlet must
devise a way to
reveal the death as
murder.
Hamlet will not be
viewed favorably
by Denmarkians in
killing his Uncle.
Hamlet wants to
avenge his father's
murder
Shakespeare Language
Hamlet:
Follow him, friends: we'll hear a play to-morrow.
[Exit POLONIUS with all the Players but the First]
Dost thou hear me, old friend; can you play the
Murder of Gonzago?
First Player
Ay, my lord.
Hamlet wants to be
viewed favorably
by his countrymen.
Denmarkians
believe the King's
death was an
accident.
Learning of his father's fate, the furious Hamlet wants to avenge
his father's murder … what son would not? Yet, how has
Hamlet learned of his father's fate? By a ghost? His fellow
Denmarkians, on the other hand, still believe the King's death
was an accident. Should Hamlet avenge his father's death, he
realizes he himself will not be viewed favorably by his fellow
Denmarkians. However, Hamlet - as a Denmarkian - wants to be
viewed favorably by his fellow countrymen! Therefore, Hamlet
must devise a way to reveal the death of his father as murder for
all to see. Only then can justice prevail - in all eyes.
Narrative Language
Hamlet:
We'll ha't to-morrow night. You could, for a need,
study a speech of some dozen or sixteen lines, which
I would set down and insert in't, could you not?
First Player
Ay, my lord.
A Further Look at Hamlet's Problem
Thinking Process Language
GOAL
NEED
DESIRED ACTION
Hamlet avenges
his father's
murder.
Hamlet acts in
accordance with
the information
from the ghost.
Ghosts do not
exist, and Hamlet
acts rationally.
Hamlet does not
take action
regarding the
ghost's advice.
Hamlet wants to
lead a virtuous
life.
What should Hamlet do? Only he knows of the words of the ghost.
But are these words to be believed? Who would consider the
testimony of an apparition reasonable? Should I take the advice, or
not take the advice of the apparition? What to do, what to do, what
to do? Let's think deeper: why would I not follow the advice?
Clearly, because ghosts do not exist, and Hamlet wants to act
rationally. On the other hand, why would I follow the advice?
Again, the obvious reason: if a murder has been committed, the
murderer need be brought to justice. Is there a common goal here,
between these two legitimate needs ... justice and rationality? Let's
choose a general goal: I want to lead a virtuous life. Where does this
lead us? A good goal, implying legitimate needs, yet leading to a
dilemma. What should I do?
Narrative Language
Shakespeare Language
Hamlet:
Now I am alone.
O, what a rogue and peasant slave am I!
Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann'd,
Tears in his eyes, distraction in's aspect,
A broken voice, and his whole function suiting
With forms to his conceit? and all for nothing!
For Hecuba!
What's Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
Had he the motive and the cue for passion
That I have? He would drown the stage with tears
And cleave the general ear with horrid speech,
Make mad the guilty and appal the free,
Confound the ignorant, and amaze indeed
The very faculties of eyes and ears. Yet I,
A dull and muddy-mettled rascal, peak,
Like John-a-dreams, unpregnant of my cause,
And can say nothing; no, not for a king,
Upon whose property and most dear life
A damn'd defeat was made. Am I a coward?
Who calls me villain? breaks my pate across?
Plucks off my beard, and blows it in my face?
Tweaks me by the nose? gives me the lie i' the throat,
As deep as to the lungs? who does me this?
Ha! …
Why, what an ass am I! This is most brave,
That I, the son of a dear father murder'd,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words,
And fall a-cursing, like a very drab,
A scullion!
Hamlet's Injection / Solution
Thinking Process Language
The Uncle will
reveal himself as
the murderer of
the King.
The play will
depict how the
King was killed.
Hamlet will speak
to the actors prior
to the play.
The Uncle will see
the death unfold,
and become
uncomfortable.
The script will be
modified to mimic
the actual murder
of the King.
"Think, Hamlet, think", Hamlet says to himself. "How can I find
out if this apparition tells the truth?" I've got it! Suppose I
somehow devise a plan that makes my uncle reveal himself as a
murderer for all to see? That would do it. But how can I do
this? What murderer reveals himself? There is a play coming to
town. I shall speak to the actors, and change the play "The
Murder of Gonzago" so the plot is consistent with my father's
murder - as told me by the ghost. Seeing the plot unfold, surely
my uncle will display discomfort - deja vu if you will - and he
will therefore reveal himself as the murderer.
Narrative Language
Shakespeare Language
Hamlet:
Fie upon't! foh! About, my brain! I have heard
That guilty creatures sitting at a play
Have by the very cunning of the scene
Been struck so to the soul that presently
They have proclaim'd their malefactions;
For murder, though it have no tongue, will speak
With most miraculous organ. I'll have these players
Play something like the murder of my father
Before mine uncle: I'll observe his looks;
I'll tent him to the quick: if he but blench,
I know my course. The spirit that I have seen
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me: I'll have grounds
More relative than this: the play 's the thing
Wherein I'll catch the conscience of the king.
[Exit]
Consequences of the Play
Thinking Process Language
Hamlet will wait
until the greatest
harm can be done
to the Uncle's soul.
Hamlet knows his
Uncle murdered
his father.
"The Murder of
Gonzago" is
altered, due to
Hamlet.
A quick death is
inappropriate to
the evil done his
father.
The King displays
discomfort at the
new play.
Hamlet has a talk with the actors regarding their past great
performances, and wonders if they can modify the play, "The
Murder of Gonzago", which they do. Expectedly, the King
shows great discomfort at the revised plan, and Hamlet now
knows the Ghost has spoken the truth! His uncle is a murderer.
Hamlet reasons, because a murderer, a quick death is
inappropriate and non-equivalent to the evil done his father.
Hamlet therefore decides he will wait until the greatest harm can
be done the king.
Shakespeare Language
King Claudius:
What do you call the play?
Hamlet:
The Mouse-trap. Marry, how? Tropically. This play
is the image of a murder done in Vienna: Gonzago is
the duke's name; his wife, Baptista: you shall see
anon; 'tis a knavish piece of work: but what o'
that? your majesty and we that have free souls, it
touches us not: let the galled jade wince, our
withers are unwrung.
Hamlet:
He poisons him i' the garden for's estate. His
name's Gonzago: the story is extant, and writ in
choice Italian: you shall see anon how the murderer
gets the love of Gonzago's wife.
Ophelia:
The king rises.
Hamlet:
What, frighted with false fire!
King Claudius:
Give me some light: away!
Hamlet:
O good Horatio, I'll take the ghost's word for a
thousand pound. Didst perceive?
Horatio:
Very well, my lord.
Narrative Language
The Tragic Consequences
Thinking Process Language
Hamlet kills
Polonius, believing
he his uncle.
The mother sees
the horror in
Hamlet, and cries
for help.
Hamlet too wants
to condemn his
mother.
Polonius is hiding
in the room, and
he too cries for
help.
The mother does
not know about the
murder.
Hamlet also does not want to let his mother off easy … after all,
she has taken up marriage with the murderer of his father!
Surely, his mother knows nothing about the murder, and Hamlet
decides to confront her with the wickedness of the situation.
Seeing his rage, she cries for help, and Polonius (hiding in the
room behind curtains), too cries for help! Hamlet, believing the
second cry is from his uncle, stabs through the curtains only to
see it is Polonius he has killed - and not his uncle!
Narrative Language
Shakespeare Language
Queen Gertrude:
Have you forgot me?
Hamlet:
No, by the rood, not so:
You are the queen, your husband's brother's wife;
And -- would it were not so! -- you are my mother.
Queen Gertrude:
Nay, then, I'll set those to you that can speak.
Hamlet:
Come, come, and sit you down; you shall not budge;
You go not till I set you up a glass
Where you may see the inmost part of you.
Queen Gertrude:
What wilt thou do? thou wilt not murder me?
Help, help, ho!
Lord Polonius:
[Behind]
What, ho! help, help, help!
Hamlet:
[Drawing]
How now! a rat? Dead, for a ducat, dead!
[Makes a pass through the arras]
Lord Polonius:
[Behind]
O, I am slain!
[Falls and dies]
The King's Ambitious Target
Thinking Process Language
Hamlet will be
killed by
Englanders.
Hamlet is on his
way to England.
The King learns of
Polonius' death.
Two couriers carry
letters to England,
telling them to kill
Hamlet.
The King
convinces Hamlet
to escape to
England for safety.
The King learns of the accidental death, and sees a way out of
his problem. I will send Hamlet away, and have him killed by
others! How can I make this happen, reasons the king? I will
send two couriers - his trusted friends Rosencrantz and
Guildenstern - with Hamlet with letters to deliver to the King of
England. These letters will detail the murder of Polonius, and
request England take Hamlet's life! All my problems are solved!
Narrative Language
Shakespeare Language
King Claudius:
Hamlet, this deed, for thine especial safety, -Which we do tender, as we dearly grieve
For that which thou hast done, -- must send thee hence
With fiery quickness: therefore prepare thyself;
The bark is ready, and the wind at help,
The associates tend, and every thing is bent
For England.
Hamlet:
For England!
King Claudius:
Follow him at foot; tempt him with speed aboard;
Delay it not; I'll have him hence to-night:
Away! for every thing is seal'd and done
That else leans on the affair: pray you, make haste.
[Exeunt ROSENCRANTZ and GUILDENSTERN]
And, England, if my love thou hold'st at aught -As my great power thereof may give thee sense,
Since yet thy cicatrice looks raw and red
After the Danish sword, and thy free awe
Pays homage to us -- thou mayst not coldly set
Our sovereign process; which imports at full,
By letters congruing to that effect,
The present death of Hamlet. Do it, England;
For like the hectic in my blood he rages,
And thou must cure me: till I know 'tis done,
Howe'er my haps, my joys were ne'er begun.
[Exit]
Hamlet's Response
Thinking Process Language
The Uncle must
make plans to have
Hamlet killed
another way.
The couriers are
killed in England.
Hamlet opens the
letters, and knows
of his fate.
Hamlet decides to
return to Denmark
to avenge his
father's death.
Hamlet changes
the letters to say,
"Kill the carriers
of these letters".
Hamlet, realizing something sinister is going on, instead takes
charge of the letters, and realizes his fate. Not wanting the
couriers to realize he knows all, Hamlet simply changes the
wording to say "Kill the couriers", rather than "Kill Hamlet". Of
course, once reaching England, the couriers are immediately
killed, and Hamlet decides to return to Denmark to avenge his
father's death. The King, hearing of his failed plan and Hamlet's
goal, must think of another way of having Hamlet taken care of.
Narrative Language
Shakespeare Language
Hamlet (changed letter to the king of England):
An earnest conjuration from the king,
As England was his faithful tributary,
As love between them like the palm might flourish,
As peace should stiff her wheaten garland wear
And stand a comma 'tween their amities,
And many such-like 'As'es of great charge,
That, on the view and knowing of these contents,
Without debatement further, more or less,
He should the bearers put to sudden death,
Not shriving-time allow'd.
Messenger:
Letters, my lord, from Hamlet:
This to your majesty; this to the queen.
King Claudius:
From Hamlet! who brought them?
Messenger:
Sailors, my lord, they say; I saw them not:
They were given me by Claudio; he received them
Of him that brought them.
King Claudius:
Laertes, you shall hear them. Leave us.
[Exit Messenger]
[Reads]
'High and mighty, You shall know I am set naked on
your kingdom. To-morrow shall I beg leave to see
your kingly eyes: when I shall, first asking your
pardon thereunto, recount the occasion of my sudden
and more strange return. 'HAMLET.'
Poor Ophelia
Thinking Process Language
Ophelia dies.
Shakespeare Language
Queen Gertrude:
One woe doth tread upon another's heel,
So fast they follow; your sister's drown'd, Laertes.
Laertus:
Drown'd! O, where?
Ophelia is
despondent.
Hamlet kills
Polonius, believing
he his uncle.
Ophelia falls from
a tree into a brook,
but tries not to
save herself.
Ophelia is
saddened by her
father's death.
In the meantime, let us recall Hamlet has accidentally killed
Polonius, believing Polonius' cry for help was that of the King.
Ophelia, understandably, is saddened by her father's death, and
becomes despondent. Climbing a tree one day, she accidentally
falls into a brook, but tries not to save herself. Ophelia has
killed herself.
Narrative Language
Queen Gertrude:
There is a willow grows aslant a brook,
That shows his hoar leaves in the glassy stream;
There with fantastic garlands did she come
Of crow-flowers, nettles, daisies, and long purples
That liberal shepherds give a grosser name,
But our cold maids do dead men's fingers call them:
There, on the pendent boughs her coronet weeds
Clambering to hang, an envious sliver broke;
When down her weedy trophies and herself
Fell in the weeping brook. Her clothes spread wide;
And, mermaid-like, awhile they bore her up:
Which time she chanted snatches of old tunes;
As one incapable of her own distress,
Or like a creature native and indued
Unto that element: but long it could not be
Till that her garments, heavy with their drink,
Pull'd the poor wretch from her melodious lay
To muddy death.
The Angry Laertus
Thinking Process Language
Laertus REALLY
wants vengeance
on Hamlet!
Laertus wants
vengeance on
Hamlet.
Hamlet kills
Polonius, believing
he his uncle.
Laertus learns of
his sister Ophelia's
death.
Laertus learns
Hamlet is the
murderer.
What of Ophelia's brother and Polonius' son, Laertus? He too
learns of the murder of HIS father, and, rather than the
despondency of Ophelia feels extreme rage, and demands
vengeance on the King. The King explains it was Hamlet, and
not the King, who has killed Polonius. Hamlet! Learning of
Ophelia's death, he blames Hamlet all the more, and demands
Hamlet be dealt with appropriately.
Narrative Language
Shakespeare Language
Laertus:
Too much of water hast thou, poor Ophelia,
And therefore I forbid my tears: but yet
It is our trick; nature her custom holds,
Let shame say what it will: when these are gone,
The woman will be out. Adieu, my lord:
I have a speech of fire, that fain would blaze,
But that this folly douts it.
[Exit]
King Claudius:
Let's follow, Gertrude:
How much I had to do to calm his rage!
Now fear I this will give it start again;
Therefore let's follow.
[Exeunt]
The King's Ambitious Target
Thinking Process Language
Hamlet will be
dead, either by the
hand of Laertus or
the glass of wine.
Hamlet will be
pierced by the
poisonous napier.
Hamlet believes
the fencing duel
will be a friendly
match.
Hamlet's wine will
be poisoned, in
case the napier
misses the mark.
Laertus' napier
will be dipped in
poison.
The King, seeing a second chance to fix his problem, reasons as
such with Laertus: let us prepare a fencing match with Hamlet,
with the prelude it being a friendly match. Surely, in such a
match, his expectation can be used to your advantage. To ensure
we win and Hamlet is killed, we shall poison your rapier.
Finally, let's assume Hamlet is not killed by your rapier. What
can we do to ensure he ends up dead nonetheless? Let's poison
his wine, for in the celebration of possible victory, he shall surely
drink his wine. Surely, this will ensure his death!
Narrative Language
Shakespeare Language
King Claudius:
Most generous and free from all contriving,
Will not peruse the foils; so that, with ease,
Or with a little shuffling, you may choose
A sword unbated, and in a pass of practise
Requite him for your father.
Laertus:
I will do't:
And, for that purpose, I'll anoint my sword.
I bought an unction of a mountebank,
So mortal that, but dip a knife in it,
Where it draws blood no cataplasm so rare,
Collected from all simples that have virtue
Under the moon, can save the thing from death
That is but scratch'd withal: I'll touch my point
With this contagion, that, if I gall him slightly,
It may be death.
King Claudius:
Let's further think of this;
Weigh what convenience both of time and means
May fit us to our shape: if this should fail,
And that our drift look through our bad performance,
'Twere better not assay'd: therefore this project
Should have a back or second, that might hold,
If this should blast in proof. Soft! let me see:
We'll make a solemn wager on your cunnings: I ha't.
When in your motion you are hot and dry -As make your bouts more violent to that end -And that he calls for drink, I'll have prepared him
A chalice for the nonce, whereon but sipping,
If he by chance escape your venom'd stuck,
Our purpose may hold there.
The Tragic Outcome of the Duel
Thinking Process Language
Queen Gertrude's
fate is sealed.
The wine remains.
Queen Gertrude
drinks the
poisoned wine
accidentally.
Shakespeare Language
King Claudius:
Stay; give me drink. Hamlet, this pearl is thine;
Here's to thy health.
Give him the cup.
Hamlet:
I'll play this bout first; set it by awhile. Come.
Another hit; what say you?
Laertus:
A touch, a touch, I do confess.
King Claudius:
Our son shall win.
The King tries to
get Hamlet to
drink the poisoned
wine.
Hamlet is busy
with the duel.
The fencing commences, and Hamlet realizes the match is more
competitive than he was led to believe. The king seizes the
opportunity, during a break in the action, to offer Hamlet a drink
from the poisoned wine. Hamlet refuses, and the duel continues.
Queen Gertrude, however, sees the wine, and takes a drink. Her
fate is sealed, and she slowly starts to die.
Queen Gertrude:
He's fat, and scant of breath.
Here, Hamlet, take my napkin, rub thy brows;
The queen carouses to thy fortune, Hamlet.
Hamlet:
Good madam!
King Claudius:
Gertrude, do not drink.
Queen Gertrude:
I will, my lord; I pray you, pardon me.
King Claudius:
[Aside]
It is the poison'd cup: it is too late.
Narrative Language
The Tragic Outcome of the Duel
Thinking Process Language
Both Laertus and
Hamlet's mother
are in the process
of dying.
Shakespeare Language
Laertus:
Have at you now!
[LAERTES wounds HAMLET; then in scuffling, they change
rapiers, and HAMLET wounds LAERTES]
King Claudius:
Part them; they are incensed.
Laertus is stabbed
with the poisonous
rapier.
Hamlet's mother
drinks Hamlet's
wine.
Hamlet:
Nay, come, again.
[QUEEN GERTRUDE falls]
Osric:
Look to the queen there, ho!
The rapiers fall to
the ground and
change hands.
Hamlet is a good
dueler.
As the match continues, the rapiers fall to the ground and, in the
struggle and confusion, change hands. Hamlet, unknown to
him, is in charge of the poisonous rapier! Being a good dueler,
he eventually strikes Laertus. Both Laertus and Queen Gertrude
now are in the dying process.
Narrative Language
Horatio:
They bleed on both sides. How is it, my lord?
Osric:
How is't, Laertes?
Why, as a woodcock to mine own springe, Osric;
I am justly kill'd with mine own treachery.
The Tragic Outcome of the Duel
Thinking Process Language
Hamlet and his
Uncle both die as
well.
Hamlet stabs his
uncle, and makes
him too drink the
poisonous wine.
Laertus' last words
reveal the plot to
poison Hamlet.
Hamlet has been
nicked by the
poisonous napier.
Hamlet seeks
vengeance.
Laertus' last words reveal the plot to poison Hamlet, and Hamlet
now really seeks vengeance on the King. He stabs his uncle, and
makes him also drink the poisonous wine. Tragically, Hamlet
has been nicked by the poisonous napier, and he too is on his
deathbed. The play ends, with the Uncle, Hamlet, Queen
Gertrude, and Laertus all killed in this tragic duel gone awry.
Narrative Language
Shakespeare Language
Laertus:
It is here, Hamlet: Hamlet, thou art slain;
No medicine in the world can do thee good;
In thee there is not half an hour of life;
The treacherous instrument is in thy hand,
Unbated and envenom'd: the foul practise
Hath turn'd itself on me lo, here I lie,
Never to rise again: thy mother's poison'd:
I can no more: the king, the king's to blame.
Hamlet:
The point! -- envenom'd too!
Then, venom, to thy work.
[Stabs KING CLAUDIUS]
Hamlet:
Here, thou incestuous, murderous, damned Dane,
Drink off this potion. Is thy union here?
Follow my mother.
[KING CLAUDIUS dies]
Hamlet:
Heaven make thee free of it! I follow thee.
I am dead, Horatio. Wretched queen, adieu!
You that look pale and tremble at this chance,
That are but mutes or audience to this act,
Had I but time -- as this fell sergeant, death,
Is strict in his arrest -- O, I could tell you -But let it be. Horatio, I am dead;
Thou livest; report me and my cause aright
To the unsatisfied.
Resolution
Thinking Process Language
Horatio tells fellow
Denmarkians the
entire story.
Hamlet will be
viewed a traitor for
killing King
Claudius.
Hamlet stabs his
uncle, and makes
him too drink the
poisonous wine.
Hamlet leaves it to
Horatio to tell the
truth.
Recall, fellow
citizens believe the
King's death was
an accident.
Hamlet gains the vengeance sought the entire story, but has
failed to tell fellow Denmarkians of his father's murder! The
witnesses to the act, of course, yell "Treason!", for all they have
seen is one man kill the King. Only Hamlet and Horatio know
the truth, and Hamlet now is on his deathbed. He convinces
Horatio to report to the crowd the circumstances surrounding the
death, and to tell Hamlet's story.
Narrative Language
Shakespeare Language
Hamlet:
The point! -- envenom'd too!
Then, venom, to thy work.
All:
Treason! treason!
Hamlet:
Heaven make thee free of it! I follow thee.
I am dead, Horatio. Wretched queen, adieu!
You that look pale and tremble at this chance,
That are but mutes or audience to this act,
Had I but time -- as this fell sergeant, death,
Is strict in his arrest -- O, I could tell you -But let it be. Horatio, I am dead;
Thou livest; report me and my cause aright
To the unsatisfied.
Horatio:
Never believe it:
I am more an antique Roman than a Dane:
Here's yet some liquor left.
Hamlet:
As thou'rt a man,
Give me the cup: let go; by heaven, I'll have't.
O good Horatio, what a wounded name,
Things standing thus unknown, shall live behind me!
If thou didst ever hold me in thy heart
Absent thee from felicity awhile,
And in this harsh world draw thy breath in pain,
To tell my story.
[March afar off, and shot within]
What warlike noise is this?
Famous Quotes
“Brevity is the soul of wit”? “To be or not to be?” We’ve heard these all our lives …
now we have a structural understanding of the work by which to really understand
these quotes!
But, what constitutes “Real understanding”? The quote itself? The context from
which the quote arises? The meaning of the actor in the context?
play passage
play passage
Something is rotten in the
state of Denmark.
The King of Denmark has
mysteriously died, and now
his ghost has appeared.
play context
Marcellus, a guard, describes
the chaos and disorder of the
situation.
general message
play context
Hamlet: Famous Lines
play passage
Something is rotten in the
state of Denmark.
The King of Denmark has
mysteriously died, and now
his ghost has appeared.
play context
Marcellus, a guard, describes
the chaos and disorder of the
situation.
general message
play passage
All that lives must die,
passing through nature to
eternity.
Queen Gertrude and King
Claudius are talking with
Hamlet about the
commonality of death.
play context
play passage
Frailty, thy name is
woman!
Hamlet is speaking on his
mother remarrying within a
month of his father's death.
play context
A good person does the right
thing, and marrying within a
month of death is not right.
general message
Gertrude wants to know why
something natural bothers no
one except Hamlet.
general message
play passage
Brevity is the soul of wit.
Polonius is telling King
Claudius and Queen
Gertrude Hamlet is mad.
play context
Intelligent speech and
writing should aim at few
words. Just cut to the chase.
general message
OUR Famous Quotes
“Brevity is the soul of wit”? “To be or not to be?” Great quotes … yes. However,
now that we have a great understanding of this piece of literature, why leave the great
quotes to Shakespeare, when we can create our own?
What would constitute a great quote? Validity in the Shakespearean environment? Of
course … this gives rise to the quote itself. Valid in another environment? Certainly
… this is the meaning of generalization.
What about application to other environments? Is it valid in other applications? Is it
not valid in other areas?
Personal Quotes / Generalizations
further examples confirming my generalization …
King Claudius kills his
brother to become king.
counterexamples suggesting my generalization is not entirely valid
Scar, in the Lion King, kills
his brother Mufasa, in order
to become king.
There is no evidence of
scandal in current English
hierarchy.
The country of Monoco has
had no infighting regarding
the position of King.
generalizations
"Ascension to the throne"
makes killers of us all.
Hamlet's uncle kills the King
to become King.
play action
In "The Lion King", Scar
kills his brother Mufasa, to
ascend to the throne.
action from another context
When I see a throne, I see something deserving of being dethroned.
When genetics is the necessary and sufficient path to power, who can blame the genetic "misfit" from taking action?
A throne implies "aristocracy".
Other Endings?
Must we accept “tragedy” as inevitable in Hamlet? That was Shakespeare’s story, but
does it have to be ours? What might Hamlet have done to “rewrite history”? What
injection might have Hamlet employed to arrive at a favorable reality?
Hamlet's Dilemma Revisited
The Dilemma and Injection
The Logical Future of Hamlet's Injection
I kill Polonius
accidentally, and
Ophelia commits
suicide.
I have reasonable
grounds to avenge
my father's
murder.
I kill Laertus in a
duel, and Queen
Gertrude
accidentally dies.
I kill my Uncle,
and am myself
killed in the duel!
Lots of unexpected
things are bound
to happen.
Do not take action
regarding the
ghost's advice.
I want to avenge
my father's
murder!
The effects of
"vengeance
unleashed" are
difficult to predict.
Trick the new
King into
revealing he was
the murderer.
Hamlet acts in
accordance with
the information
from the ghost.
Ghosts do not
exist, and Hamlet
acts rationally.
Hamlet wants to
act virtuously.
I will alone take
actions based on
my vengeance and
anger
I alone remain
judge and jury.
I have reasonable
grounds to avenge
my father's
murder.
I still want to
avenge my father's
murder.
I don’t effectively
communicate this
new information to
Denmarkians.
A Process of Ongoing
Improvement
When am I “done” learning Hamlet / Shakespeare? It, of course, depends … however,
with structure in place, many additional questions come to mind!
Further Questions on the Play
Claudius kills his brother to become King. Did he have to marry the widow of his brother to become King? Why didn't
Hamlet become the king?
I still don’t understand the role of the other countries (Norway, England, etc.) in the play.
Hamlet acts odd after the visit of the ghost. Is this intentional, to not let King Claudius know Hamlet is on to the murder
plot, or is Hamlet literally "out of his mind"?
Marc Antony gives an impassioned speech, and the crowd seizes Brutus. This was his way of convincing the crowd Caesar
was no dictator, and the killers were indeed murderers. Should Hamlet have done the same?
Queen Gertrude witnesses Hamlet wrongly kill Lord Polonius. What should a parent do in such a case? Euthyphro, in
the Socratic Dialogue, took his own father to court for just this reason.
HAMLET
HAMLET
Narrative Summary: A Brief Outline
The King of Denmark has died, and his ghost has appeared to tell the surviving son Hamlet the death was no accident!
Death by murder, is the charge, with the King's own brother the murderer! Hamlet devises a plan to reveal the
murderer for all to see. In the following pursuit of justice, Hamlet ends up killing a man (Polonius), another man
(Laertus), and the King, while his girlfriend (Ophelia) kills herself, and his mother (Queen Gertrude) accidentally dies
drinking a glass of poisoned wine meant for Hamlet.
SHAKESPEAREAN TRAGEDY
and the
Thinking Processes of the Theory of Constraints for Education
Narrative Summary: A Detailed Outline
* The guards at the palace gates are confronted by the Ghost of the King of Denmark. The King has died, and the King's
brother, Claudius, has ascended to the throne. The King's death was believed accidental, but now the ghost tells his
son, Hamlet, the death was murder, and Claudius the murderer! With this information, the justice-seeking Hamlet
seeks to avenge his father's murder.
* Learning of his father's fate, the furious Hamlet wants to avenge his father's murder … what son would not? Yet, how
has Hamlet learned of his father's fate? By a ghost? His fellow Denmarkians, on the other hand, still believe the
King's death was an accident. Should Hamlet avenge his father's death, he realizes he himself will not be viewed
favorably by his fellow Denmarkians. However, Hamlet - as a Denmarkian - wants to be viewed favorably by his
fellow countrymen! Therefore, Hamlet must devise a way to reveal the death of his father as murder for all to see.
Only then can justice prevail - in all eyes.
* What should Hamlet do? Only he knows of the words of the ghost. But are these words to be believed? Who would
consider the testimony of an apparition reasonable? Should I take the advice, or not take the advice of the apparition?
What to do, what to do, what to do? Let's think deeper: why would I not follow the advice? Clearly, because ghosts
do not exist, and Hamlet wants to act rationally. On the other hand, why would I follow the advice? Again, the
obvious reason: if a murder has been committed, the murderer need be brought to justice. Is there a common goal
here, between these two legitimate needs ... justice and rationality? Let's choose a general goal: I want to lead a
virtuous life. Where does this lead us? A good goal, implying legitimate needs, yet leading to a dilemma. What
should I do?
* "Think, Hamlet, think", Hamlet says to himself. "How can I find out if this apparition tells the truth?" I've got it!
Suppose I somehow devise a plan that makes my uncle reveal himself as a murderer for all to see? That would do it.
But how can I do this? What murderer reveals himself? There is a play coming to town. I shall speak to the actors,
and change the play "The Murder of Gonzago" so the plot is consistent with my father's murder - as told me by the
ghost. Seeing the plot unfold, surely my uncle will display discomfort - deja vu if you will - and he will therefore
reveal himself as the murderer.
* Hamlet has a talk with the actors regarding their past great performances, and wonders if they can modify the play,
"The Murder of Gonzago", which they do. Expectedly, the King shows great discomfort at the revised plan, and
Hamlet now knows the Ghost has spoken the truth! His uncle is a murderer. Hamlet reasons, because a murderer, a
quick death is inappropriate and non-equivalent to the evil done his father. Hamlet therefore decides he will wait until
the greatest harm can be done the king.
an auto SOCRATIC PRESS publication
* Hamlet also does not want to let his mother off easy … after all, she has taken up marriage with the murderer of his
father! Surely, his mother knows nothing about the murder, and Hamlet decides to confront her with the wickedness of
the situation. Seeing his rage, she cries for help, and Polonius (hiding in the room behind curtains), too cries for help!
Hamlet, believing the second cry is from his uncle, stabs through the curtains only to see it is Polonius he has killed and not his uncle!
M ichael L ee R ound
A Further Look at Hamlet's Problem
The Context of the Play
Thinking Process Language
Hamlet wants to
avenge his father's
murder.
Hamlet, the King's
son, learns of his
father's murder.
The King of
Denmark has
unexpectedly died.
Initially believing
the death was
accidental, Hamlet
now seeks justice.
The King's Ghost
appears, and tells
Hamlet the death
was murder.
The guards at the palace gates are confronted by the Ghost of the
King of Denmark. The King has died, and the King's brother,
Claudius, has ascended to the throne. The King's death was
believed accidental, but now the ghost tells his son, Hamlet, the
death was murder, and Claudius the murderer! With this
information, the justice-seeking Hamlet seeks to avenge his
father's murder.
Shakespeare Language
Ghost:
I am thy father's spirit,
Doom'd for a certain term to walk the night,
And for the day confined to fast in fires,
Till the foul crimes done in my days of nature
Are burnt and purged away. But that I am forbid
To tell the secrets of my prison-house,
Ghost:
Revenge his foul and most unnatural murder.
Thinking Process Language
GOAL
NEED
DESIRED ACTION
Hamlet avenges
his father's
murder.
Hamlet acts in
accordance with
the information
from the ghost.
Hamlet wants to
lead a virtuous
life.
Hamlet:
Murder!
Ghost:
Murder most foul, as in the best it is;
But this most foul, strange and unnatural.
Hamlet:
Haste me to know't, that I, with wings as swift
As meditation or the thoughts of love,
May sweep to my revenge.
Ghost:
Wouldst thou not stir in this. Now, Hamlet, hear:
'Tis given out that, sleeping in my orchard,
A serpent stung me; so the whole ear of Denmark
Is by a forged process of my death
Rankly abused: but know, thou noble youth,
The serpent that did sting thy father's life
Now wears his crown.
Hamlet:
O my prophetic soul! My uncle!
Narrative Language
What should Hamlet do? Only he knows of the words of the ghost.
But are these words to be believed? Who would consider the
testimony of an apparition reasonable? Should I take the advice, or
not take the advice of the apparition? What to do, what to do, what
to do? Let's think deeper: why would I not follow the advice?
Clearly, because ghosts do not exist, and Hamlet wants to act
rationally. On the other hand, why would I follow the advice?
Again, the obvious reason: if a murder has been committed, the
murderer need be brought to justice. Is there a common goal here,
between these two legitimate needs ... justice and rationality? Let's
choose a general goal: I want to lead a virtuous life. Where does this
lead us? A good goal, implying legitimate needs, yet leading to a
dilemma. What should I do?
Hamlet: Famous Lines
The Logical Future of Hamlet's Injection
I kill Polonius
accidentally, and
Ophelia commits
suicide.
I have reasonable
grounds to avenge
my father's
murder.
I kill Laertus in a
duel, and Queen
Gertrude
accidentally dies.
I kill my Uncle,
and am myself
killed in the duel!
The effects of
"vengeance
unleashed" are
difficult to predict.
Hamlet acts in
accordance with
the information
from the ghost.
Ghosts do not
exist, and Hamlet
acts rationally.
Hamlet wants to
act virtuously.
I will alone take
actions based on
my vengeance and
anger
I alone remain
judge and jury.
I have reasonable
grounds to avenge
my father's
murder.
play passage
Something is rotten in the
state of Denmark.
The King of Denmark has
mysteriously died, and now
his ghost has appeared.
I want to avenge
my father's
murder!
Trick the new
King into
revealing he was
the murderer.
counterexamples suggesting my generalization is not entirely valid
Scar, in the Lion King, kills
his brother Mufasa, in order
to become king.
There is no evidence of
scandal in current English
hierarchy.
The country of Monoco has
had no infighting regarding
the position of King.
generalizations
"Ascension to the throne"
makes killers of us all.
Hamlet's uncle kills the King
to become King.
play action
In "The Lion King", Scar
kills his brother Mufasa, to
ascend to the throne.
action from another context
When I see a throne, I see something deserving of being dethroned.
When genetics is the necessary and sufficient path to power, who can blame the genetic "misfit" from taking action?
A throne implies "aristocracy".
play passage
All that lives must die,
passing through nature to
eternity.
Further Questions on the Play
Claudius kills his brother to become King. Did he have to marry the widow of his brother to become King? Why didn't
Hamlet become the king?
I still don’t understand the role of the other countries (Norway, England, etc.) in the play.
Lots of unexpected
things are bound
to happen.
Do not take action
regarding the
ghost's advice.
further examples confirming my generalization …
King Claudius kills his
brother to become king.
Narrative Language
Hamlet's Dilemma Revisited
The Dilemma and Injection
Hamlet does not
take action
regarding the
ghost's advice.
Ghosts do not
exist, and Hamlet
acts rationally.
Personal Quotes / Generalizations
Shakespeare Language
Hamlet:
Now I am alone.
O, what a rogue and peasant slave am I!
Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann'd,
Tears in his eyes, distraction in's aspect,
A broken voice, and his whole function suiting
With forms to his conceit? and all for nothing!
For Hecuba!
What's Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
Had he the motive and the cue for passion
That I have? He would drown the stage with tears
And cleave the general ear with horrid speech,
Make mad the guilty and appal the free,
Confound the ignorant, and amaze indeed
The very faculties of eyes and ears. Yet I,
A dull and muddy-mettled rascal, peak,
Like John-a-dreams, unpregnant of my cause,
And can say nothing; no, not for a king,
Upon whose property and most dear life
A damn'd defeat was made. Am I a coward?
Who calls me villain? breaks my pate across?
Plucks off my beard, and blows it in my face?
Tweaks me by the nose? gives me the lie i' the throat,
As deep as to the lungs? who does me this?
Ha! …
Why, what an ass am I! This is most brave,
That I, the son of a dear father murder'd,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words,
And fall a-cursing, like a very drab,
A scullion!
play context
general message
play context
play passage
Frailty, thy name is
woman!
I still want to
avenge my father's
murder.
I don’t effectively
communicate this
new information to
Denmarkians.
Marcellus, a guard, describes
the chaos and disorder of the
situation.
Queen Gertrude and King
Claudius are talking with
Hamlet about the
commonality of death.
Hamlet is speaking on his
mother remarrying within a
month of his father's death.
play context
A good person does the right
thing, and marrying within a
month of death is not right.
general message
Gertrude wants to know why
something natural bothers no
one except Hamlet.
general message
play passage
Brevity is the soul of wit.
Polonius is telling King
Claudius and Queen
Gertrude Hamlet is mad.
play context
Intelligent speech and
writing should aim at few
words. Just cut to the chase.
general message
Hamlet acts odd after the visit of the ghost. Is this intentional, to not let King Claudius know Hamlet is on to the murder
plot, or is Hamlet literally "out of his mind"?
Marc Antony gives an impassioned speech, and the crowd seizes Brutus. This was his way of convincing the crowd Caesar
was no dictator, and the killers were indeed murderers. Should Hamlet have done the same?
Queen Gertrude witnesses Hamlet wrongly kill Lord Polonius. What should a parent do in such a case? Euthyphro, in
the Socratic Dialogue, took his own father to court for just this reason.
The Future …
THEORY of CONSTRAINTS for EDUCATION
Shakespeare
Black Belt Certificate Program
THE TRAGEDIES
Shakespeare “Textbooks”
THE HISTORIES
Antony and
Cleopatra
Coriolanus
Timon of
Athens
Romeo and
Juliet
Hamlet
Titus
Andronicus
Othello
Macbeth
King Lear
King Henry IV
Part 2
King Henry V
King Henry VI King Henry VI
Part 2
Part 3
Richard III
King Henry IV
Part 1
Julius Caesar
King Henry VI
Part 1
King Henry
VIII
THE COMEDIES
All's Well That Merry Wives of
Ends Well
Windsor
As You Like It
Midsummer
Night's Dream
Comedy of
Errors
Two Gentlemen
of Verona
Merchant of
Venice
Troilus and
Cressida
Winter's Tale
Cymbeline
Love's Labour's
Lost
Measure for
Measure
Taming of the
Shrew
Tempest
Much Ado
Pericles, Prince
About Nothing
of Tyre
www.kcshakes.org
King John
Richard II
Twelfth Night
Preliminary discussions have been
held with the “Heart of America
Shakespeare Festival” organization
about co-authoring / overseeing the
writing of the 37 books to the left …
They have the “Shakespearean”
expertise … by way of the Thinking
Processes of TOC, we have the
structure to make “Shakespeare
Enjoyable for All!”
HAMLET
SHAKESPEAREAN TRAGEDY
and the
Thinking Processes of the Theory of Constraints for Education
Feel free to comment on the layout
of the book, the structure, the
categories, the initiatives, etc.
As I said, this truly is a “process of
ongoing improvement”, and an
exciting process indeed!
an auto SOCRATIC PRESS publication
M ichael L ee R ound
Education as a System
The Left / Right “Dilemma”
This theory of the structure and functions of the mind
suggests that the two different sides of the brain control two
different "modes" of thinking. It also suggests that each of
us prefers one mode over the other.
Most individuals have a distinct preference for one of these
styles of thinking. Some, however, are more whole-brained
and equally adept at both modes. In general, schools tend to
favor left-brain modes of thinking, while downplaying the
right-brain ones. Left-brain scholastic subjects focus on
logical thinking, analysis, and accuracy. Right-brained
subjects, on the other hand, focus on aesthetics, feeling, and
creativity.
Left Brain
Right Brain
Logical
Sequential
Rational
Analytical
Objective
Looks at parts
Random
Intuitive
Holistic
Synthesizing
Subjective
Looks at wholes
How Right-Brain vs. Left-Brain Thinking Impacts
Learning
Curriculum--In order to be more "whole-brained" in
their orientation, schools need to give equal weight to
the arts, creativity, and the skills of imagination and
synthesis.
Instruction--To foster a more whole-brained scholastic
experience, teachers should use instruction techniques
that connect with both sides of the brain. They can
increase their classroom's right-brain learning activities
by incorporating more patterning, metaphors, analogies,
role playing, visuals, and movement into their reading,
calculation, and analytical activities.
Assessment--For a more accurate whole-brained
evaluation of student learning, educators must develop
new forms of assessment that honor right-brained
talents and skills.
Reading
Bernice McCarthy, The 4-MAT System: Teaching to
Learning Styles with Right/Left Mode Techniques.
BLOOM'S TAXONOMY
Knowledge
Comprehension
Application
Analysis
Synthesis
Evaluation
Recall content in the exact
form that it was presented.
Memorization of definitions,
formulas, or procedures are
examples of knowledgelevel functioning.
Restate material in their
own words, or can recognize
previously unseen examples
of a concept.
Apply rules to a problem,
without being given the rule
or formula for solving the
problem.
Break complex concepts or
situations down into their
component parts, and
analyze how the parts are
related to one another.
List, define, label, identify,
name.
Describe, associate,
categorize, summarize
Apply, calculate, illustrate,
solve.
Analyze, compare, separate, Combine, modify,
order, explain
rearrange, "what-if"
Assess, decide, grade,
recommend, explain, judge
arrange, define, duplicate,
label, list, memorize, name,
order, recognize, relate,
recall, repeat, reproduce
state
classify, describe, discuss,
explain, express, identify,
indicate, locate, recognize,
report, restate, review,
select, translate
apply, choose, demonstrate,
dramatize, employ,
illustrate, interpret, operate,
practice, schedule, sketch,
solve, use, write.
analyze, appraise, calculate,
categorize, compare,
contrast, criticize,
differentiate, discriminate,
distinguish, examine,
experiment, question, test
arrange, assemble, collect,
compose, construct, create,
design, develop, formulate,
manage, organize, plan,
prepare, propose, set up,
write
appraise, argue, assess,
attach, choose compare,
defend estimate, judge,
predict, rate, core, select,
support, value, evaluate
Define compound interest.
Given a list of examples,
categorize the cases of
compound interest versus
simple interest.
If interest on $100 is
compounded daily for 14
months at 10%, calculate
the total amount of interest
earned?
Using the previous example,
if interest were compounded
monthly instead of daily,
what would the difference in
interest be?
What interest rate is
required for $100 to grow to
$125 in six months,
compounded daily?
Given a list of three
potential investments,
including their interest
rates, lengths of investment,
and compounding schedule,
select the best option, and
defend your decision
Rearrange component parts Evaluate or make judgments
to form a new whole.
on the worth of a concept,
object, etc. for a purpose.
THE THEORY
OF
MULTIPLE INTELLIGENCES
BODILYKINESTHETIC
LOGICALMATHEMATICAL
… the ability to use fine
and gross motor skills in
sports, the performing
arts, or arts and crafts
production.
… the ability to explore
patterns, categories and
relationships by
manipulating objects or
symbols, and to
experiment in a
controlled, orderly way.
… the ability to
understand other people,
to notice their goals,
motivations, intentions,
and to work effectively
with them.
Body-Smart
Physical Experience
Number-Smart
Numbers
People-Smart
Social Experience
Self-Smart
Self-Reflection
Word-Smart
Words
Space-Smart
Pictures
Music-Smart
Music
Professional athlete
Watchmaker/jeweller
Gymnast
Choreographer
Wood-turner
Calligrapher
Artist
Circus performer
Dancer
Signwriter
Surgeon
Sculptor
Carpenter
Mathematician
Accountant
Doctor
Scientist
Economist
Computer programmer
Inventor
Astronomer
Lawyer
Detective
A teacher
Receptionist
Entrepreneur
Politician
Counsellor
Priest/minister/rabbi
Tour guide
Social worker
Salesperson
Ombudsman
Nurse
Manager
Anthropologist
Poet
Writer
Counsellor
Spiritualist
Diarist
Autobiographer
Artist
Psychologist
Philosopher
Novelist
Barrister
Actor
Orator
Comedian
Poet
Politician
Story-teller
Journalist
Speech writer
An artist
Urban planner
Surveyor
Mechanic
Cartoonist
Interior designer
Photographer
Florist
Web designer
Architect
Explorer
Navigator
Ship's captain
Curator
Chess player
Fashion designer
Graphic designer
Sound recordist
Morse Code operator
Musician
Instrument maker
Entertainer
Composer
Band member
Conductor
Critic
INTERPERSONAL
INTRAPERSONAL
LINGUISTIC
… the ability to gain
access to understand
one's inner feelings,
dreams and ideas.
Intrapersonal
Intelligence is personal
knowledge turned
inward to the self.
… the ability to use
language to excite,
please, convince,
stimulate or convey
information.
SPATIAL
MUSICAL
… the ability to perceive … the ability to enjoy,
and mentally
perform or compose a
manipulate a form or
musical piece.
object, and to perceive
and create tension,
balance and
composition in a visual
or spatial display.
System A
An Exciting Possibility …
Moving from a very complex system …
I as the teacher need to
create lesson plans for each
aspect of this “complex
system” to ensure “no child
is left behind”.
THE THEORY
BLOOM'S TAXONOMY
Knowledge
Comprehension
Application
Analysis
Synthesis
Evaluation
Recall content in the exact Restate material in their
Apply rules to a problem,
form that it was presented. own words, or can recognize without being given the rule
Memorization of definitions, previously unseen examples or formula for solving the
formulas, or procedures are of a concept.
problem.
examples of knowledgelevel functioning.
Break complex concepts or
situations down into their
component parts, and
analyze how the parts are
related to one another.
List, define, label, identify,
name.
Describe, associate,
categorize, summarize
Apply, calculate, illustrate,
solve.
Analyze, compare, separate, Combine, modify,
order, explain
rearrange, "what-if"
Assess, decide, grade,
recommend, explain, judge
arrange, define, duplicate,
label, list, memorize, name,
order, recognize, relate,
recall, repeat, reproduce
state
classify, describe, discuss,
explain, express, identify,
indicate, locate, recognize,
report, restate, review,
select, translate
apply, choose, demonstrate,
dramatize, employ,
illustrate, interpret, operate,
practice, schedule, sketch,
solve, use, write.
analyze, appraise, calculate,
categorize, compare,
contrast, criticize,
differentiate, discriminate,
distinguish, examine,
experiment, question, test
appraise, argue, assess,
attach, choose compare,
defend estimate, judge,
predict, rate, core, select,
support, value, evaluate
Define compound interest.
Given a list of examples,
categorize the cases of
compound interest versus
simple interest.
If interest on $100 is
compounded daily for 14
months at 10%, calculate
the total amount of interest
earned?
Using the previous example, What interest rate is
if interest were compounded required for $100 to grow to
monthly instead of daily,
$125 in six months,
what would the difference in compounded daily?
interest be?
Given a list of three
potential investments,
including their interest
rates, lengths of investment,
and compounding schedule,
select the best option, and
defend your decision
MULTIPLE INTELLIGENCES
BODILYKINESTHETIC
LOGICALMATHEMATICAL
… the ability to use fine
and gross motor skills in
sports, the performing
arts, or arts and crafts
production.
… the ability to explore
patterns, categories and
relationships by
manipulating objects or
symbols, and to
experiment in a
controlled, orderly way.
… the ability to
understand other people,
to notice their goals,
motivations, intentions,
and to work effectively
with them.
Body-Smart
Physical Experience
Number-Smart
Numbers
People-Smart
Social Experience
Self-Smart
Self-Reflection
Word-Smart
Words
Space-Smart
Pictures
Music-Smart
Music
Professional athlete
Watchmaker/jeweller
Gymnast
Choreographer
Wood-turner
Calligrapher
Artist
Circus performer
Dancer
Signwriter
Surgeon
Sculptor
Carpenter
Mathematician
Accountant
Doctor
Scientist
Economist
Computer programmer
Inventor
Astronomer
Lawyer
Detective
A teacher
Receptionist
Entrepreneur
Politician
Counsellor
Priest/minister/rabbi
Tour guide
Social worker
Salesperson
Ombudsman
Nurse
Manager
Anthropologist
Poet
Writer
Counsellor
Spiritualist
Diarist
Autobiographer
Artist
Psychologist
Philosopher
Novelist
Barrister
Actor
Orator
Comedian
Poet
Politician
Story-teller
Journalist
Speech writer
An artist
Urban planner
Surveyor
Mechanic
Cartoonist
Interior designer
Photographer
Florist
Web designer
Architect
Explorer
Navigator
Ship's captain
Curator
Chess player
Fashion designer
Graphic designer
Sound recordist
Morse Code operator
Musician
Instrument maker
Entertainer
Composer
Band member
Conductor
Critic
Rearrange component parts Evaluate or make judgments
to form a new whole.
on the worth of a concept,
object, etc. for a purpose.
arrange, assemble, collect,
compose, construct, create,
design, develop, formulate,
manage, organize, plan,
prepare, propose, set up,
write
OF
INTERPERSONAL
INTRAPERSONAL
LINGUISTIC
… the ability to gain
access to understand
one's inner feelings,
dreams and ideas.
Intrapersonal
Intelligence is personal
knowledge turned
inward to the self.
… the ability to use
language to excite,
please, convince,
stimulate or convey
information.
SPATIAL
MUSICAL
… the ability to perceive … the ability to enjoy,
and mentally
perform or compose a
manipulate a form or
musical piece.
object, and to perceive
and create tension,
balance and
composition in a visual
or spatial display.
System B
An Exciting Possibility …
To a very simple system …
THE THEORY
BLOOM'S TAXONOMY
Knowledge
Comprehension
Application
Recall content in the exact
form that it was presented.
Memorization of definitions,
formulas, or procedures are
examples of knowledgelevel functioning.
Restate material in their
own words, or can recognize
previously unseen examples
of a concept.
Apply rules to a problem,
without being given the rule
or formula for solving the
problem.
Break complex concepts or
situations down into their
component parts, and
analyze how the parts are
related to one another.
Analysis
Synthesis
Evaluation
List, define, label, identify,
name.
Describe, associate,
categorize, summarize
Apply, calculate, illustrate,
solve.
Analyze, compare, separate, Combine, modify,
order, explain
rearrange, "what-if"
Assess, decide, grade,
recommend, explain, judge
arrange, define, duplicate,
label, list, memorize, name,
order, recognize, relate,
recall, repeat, reproduce
state
classify, describe, discuss,
explain, express, identify,
indicate, locate, recognize,
report, restate, review,
select, translate
apply, choose, demonstrate,
dramatize, employ,
illustrate, interpret, operate,
practice, schedule, sketch,
solve, use, write.
analyze, appraise, calculate,
categorize, compare,
contrast, criticize,
differentiate, discriminate,
distinguish, examine,
experiment, question, test
arrange, assemble, collect,
compose, construct, create,
design, develop, formulate,
manage, organize, plan,
prepare, propose, set up,
write
appraise, argue, assess,
attach, choose compare,
defend estimate, judge,
predict, rate, core, select,
support, value, evaluate
Define compound interest.
Given a list of examples,
categorize the cases of
compound interest versus
simple interest.
If interest on $100 is
compounded daily for 14
months at 10%, calculate
the total amount of interest
earned?
Using the previous example,
if interest were compounded
monthly instead of daily,
what would the difference in
interest be?
What interest rate is
required for $100 to grow to
$125 in six months,
compounded daily?
Given a list of three
potential investments,
including their interest
rates, lengths of investment,
and compounding schedule,
select the best option, and
defend your decision
MULTIPLE INTELLIGENCES
BODILYKINESTHETIC
LOGICALMATHEMATICAL
… the ability to use fine
and gross motor skills in
sports, the performing
arts, or arts and crafts
production.
… the ability to explore
patterns, categories and
relationships by
manipulating objects or
symbols, and to
experiment in a
controlled, orderly way.
… the ability to
understand other people,
to notice their goals,
motivations, intentions,
and to work effectively
with them.
Body-Smart
Physical Experience
Number-Smart
Numbers
People-Smart
Social Experience
Self-Smart
Self-Reflection
Word-Smart
Words
Space-Smart
Pictures
Music-Smart
Music
Professional athlete
Watchmaker/jeweller
Gymnast
Choreographer
Wood-turner
Calligrapher
Artist
Circus performer
Dancer
Signwriter
Surgeon
Sculptor
Carpenter
Mathematician
Accountant
Doctor
Scientist
Economist
Computer programmer
Inventor
Astronomer
Lawyer
Detective
A teacher
Receptionist
Entrepreneur
Politician
Counsellor
Priest/minister/rabbi
Tour guide
Social worker
Salesperson
Ombudsman
Nurse
Manager
Anthropologist
Poet
Writer
Counsellor
Spiritualist
Diarist
Autobiographer
Artist
Psychologist
Philosopher
Novelist
Barrister
Actor
Orator
Comedian
Poet
Politician
Story-teller
Journalist
Speech writer
An artist
Urban planner
Surveyor
Mechanic
Cartoonist
Interior designer
Photographer
Florist
Web designer
Architect
Explorer
Navigator
Ship's captain
Curator
Chess player
Fashion designer
Graphic designer
Sound recordist
Morse Code operator
Musician
Instrument maker
Entertainer
Composer
Band member
Conductor
Critic
Rearrange component parts Evaluate or make judgments
to form a new whole.
on the worth of a concept,
object, etc. for a purpose.
Simple thinking processes
enable me as a teacher to
achieve each aspect of this
“complex system” to ensure
“no child is left behind”.
OF
INTERPERSONAL
INTRAPERSONAL
LINGUISTIC
… the ability to gain
access to understand
one's inner feelings,
dreams and ideas.
Intrapersonal
Intelligence is personal
knowledge turned
inward to the self.
… the ability to use
language to excite,
please, convince,
stimulate or convey
information.
SPATIAL
MUSICAL
… the ability to perceive … the ability to enjoy,
and mentally
perform or compose a
manipulate a form or
musical piece.
object, and to perceive
and create tension,
balance and
composition in a visual
or spatial display.
An Exciting Possibility …
To a joyously simple system!
Knowledge, analysis,
synthesis, etc., are achieved
naturally.
The whole student is
achieved, where maybe I’m a
mathematician, and maybe
an actor, or maybe both!
Simple thinking processes
enable me as a teacher to
teach well with happiness,
and the student to learn with
vigor and joy.
The State of Literature …
“When did it all start, you ask, this job of ours, how did it come about, where, when?
Well, I'd say it really got started around about a thing called the Civil War. Even
though our rule book claims it was founded earlier. The fact is we didn't get along
well until photography came into its own. Then - motion pictures in the early
Twentieth Century. Radio. Television. Things began to have mass.
"And because they had mass, they became simpler," said Beatty. "Once, books
appealed to a few people, here, there, everywhere. They could afford to be different.
The world was roomy. But then the world got full of eyes and elbows and mouths.
Double, triple, quadruple population. Films and radios, magazines, books leveled
down to a sort of paste pudding norm, do you follow me?"
Beatty peered at the smoke pattern he had put out on the air. "Picture it. Nineteenth
century man with his horses, dogs, carts, slow motion. Then, in the Twentieth
Century, speed up your camera. Books cut shorter. Condensations. Digests.
Tabloids. Everything boils down to the gag, the snap ending."
The State of Literature …
"Classics cut to fifteen-minute radio shows, then cut again to fill a two-minute book
column, winding up at last as a ten- or twelve-line dictionary resume. I exaggerate, of
course. The dictionaries were for reference. But many were those whose sole
knowledge of Hamlet (you know the title certainly, Montag; it is probably only a faint
rumor of a title to you, Mrs. Montag) whose sole knowledge, as I say, of Hamlet was
a one-page digest in a book that claimed: now at last you can read all the classics;
keep up with your neighbors. Do you see? Out of the nursery into the college and
back to the nursery; there's your intellectual pattern for the past five centuries or
more."
Fahrenheit 451
Ray Bradbury
PUBLISHED IN 1953 …
DO WE SEE OMINOUS PARALLELS?
BUT NOT INEVITABLE!