Transcript Document

1. Superobjective
1.
– Hamlet’s superobjective is to
avenge his father’s death.
2. Will
• Hamlet states, “I, with wings as
swift / as meditation or
thoughts of love / may sweep
to my revenge.” (1.5.35-37).
– Hamlet, in mind, is determined
to avenge his father’s death, but
struggles with following through
when it comes to acting on it.
2.
• Each of Hamlet’s soliloquies
support this statement.
Superobjective
– Polonius’ superobjective is to be
seen as an expert and held in high
esteem by all.
Will
– He is resolute in having all see him
as knowledgeable in all areas. He
inserts his opinions, suggestions,
and past experiences whenever he
has a chance.
• He gives advice to his children,
Hamlet, and Claudius.
• He brags about his acting
experience to a court full of people.
3. Moral Stance
–
Hamlet struggles with the
concept of unjust murder,
especially in the first half of
the play.
• Again, each of Hamlet’s
soliloquies support this
statement.
3.
• No direct quotes support this, but
it can be seen in how he offers
advice to his children and shows
off his ‘knowledge’ to all who will
listen.
Moral Stance
–
Polonius’ morals waver, since he
has no qualms about making up
information if he seems to think it
befits his purpose.
• The same examples for ‘Will’ apply.
You’ll be given one of the following characters, with a partner
who has been assigned the same character complete the
script analysis for each of the following aspects.
Be prepared to share your findings in about 10 minutes.
4. Decorum (A - F)
4. Decorum (A - F)
5. Major Character Traits
5. Major Character Traits
6. Dialogue (A-H)
6. Dialogue (A-H)
1. Title of the play
– The title—The Tragedy of Hamlet,
Prince of Denmark—tells the reader
three things: (1) that the play is
tragic, (2) who the protagonist is,
and (3) what the protagonist’s
station in life is.
2. Philosophic Statement of the Text
– Each of Hamlet’s soliloquies are
key, because they show what is
truly going on in Hamlet’s mind.
– “There is nothing / either good or
bad, but thinking makes it so”
(2.2)—illustrates how Hamlet’s
struggles are within his mind.
– “The play’s the thing / wherein I’ll
catch the conscious of the king”
(2.2.578-579)—this is where
Hamlet takes his first step toward
killing Claudius and the readers
are privy to his decision.
– Claudius states, “When sorrows
come, they come not single spies, /
But in battalions” (4.5). This is
especially insightful as it
foreshadows the deaths to come.
– Etc.
3. Contrasting Values of the
Protagonist and Antagonist
– The protagonist (Hamlet) wants to
avenge his father's death by killing
King Hamlet’s murderer.
– The antagonist (Hamlet’s
conscience) wants to do what is
morally just.
– These two are directly pitted
against each other because, from
most angles, murder is not ethical.
4. Polar Attitudes
– The protagonist’s (Hamlet’s) polar
attitude doesn’t waver and is ever
present: throughout the play his
main focus is on seeking revenge.
– The antagonist’s (Hamlet’s
conscience’s) polar attitude is weak
and hesitant. Hamlet knows
murder isn’t ethical, ergo he repeatedly struggles to justify the act.
5. Regarding the unfolding of the dramatic action
a) There are a few reasons Hamlet finally decides to act: (1) he feels certain
that Claudius is the murder; (2) he has lost so much personally because of
Claudius’ actions [his father, Ophelia, the purity of his mother’s affections
and eventually her life] that he feels he must act now in order to end this
downward spiral; and (3) he analyzes the actions of Caesar and Alexander
the Great, noting how they had to justify the murder of one/few in order to
do what was right for the whole.
b) Hamlet, in part because he has waited so long to act, is killed. Of course, so
does Claudius, the Queen, Laertes, Rosencrantz, Guildenstern…
c) Hamlet, upon his death, is most concerned with ensuring that the true story
be told of what has happened in Denmark. This is reiterated three times
once Hamlet realizes he’s dying. He states to Horatio:
– “...I am dead. / Thou livest; report me and my cause aright” (5.2.370-371).
– “If thou didst ever hold me in thy heart /…draw thy breath in pain / to tell
my story” (5.2.381-384).
– Hamlet adds, upon hearing of young Fortinbra’s arrival, “so tell him, with
th’ occurrents, more and less, / Which have solicited—” (5.2.394-395).
6. Central Idea
– Act swiftly; hesitations, however noble, are often detrimental to many.
Complete the following for Tuesday (this will be your ticket
in the door):
• Review (and add to it, if needed) the Script Analysis you
did over winter break for:
– Character analysis of Willy Loman
– Character analysis of another character of your choice
– Theme analysis
• Write a thesis that answers this question:
Put yourself into groups of 3-4 based on the character you chose
as your non-Willy character; for instance, if you chose to analyze
Linda, put yourself into a group of those who also analyzed Linda.
Share your findings—
– Character analysis of Willy
– Character analysis of the second character selected
– Thematic analysis
– Thesis statement answering this question: How does Miller
utilize characterization and setting to establish the central
idea of Death of a Salesman?
• If your thesis is not perfect, feel free to adjust it now.
Any questions/clarifications/insights for the whole class?