Shakespeare’s Hamlet English 12

Universal Appeal of Hamlet “It is we who are Hamlet” (William Hazlitt, 1817).

Definition of a Tragedy A play dealing with tragic events and having an unhappy ending, especially one concerning the downfall of the main character (www.oxfordenglishdictionaries.com)

Elements of Shakespearean Tragedy The tragic hero is a good or noble man Hero acts against established laws/moral codes Hero acts with noble, or well-intended, motives, but often makes a false moral choice Hero makes his decision to act because of deception and/or excessive noble pride Hero has a dramatic moment of choice Disaster (tragedy) overtakes the hero because of this choice

Tragic Flaw Literary term that refers to a personality trait of a main character that leads to his/her downfall Hamartia – another term for tragic flaw Hamlet’s tragic flaw is his inabililty to act

Tragic Hero a) Is a character of noble stature and has greatness. This is often translated into meaning he or she is a king or queen, and certainly classical and Shakespearean tragic heroes are “nobility”, but I think we’re better concentrating on the characters great intelligence or goodness, rather than simply his or her social status. b) Experiences an ironic reversal through which he falls from this “great height”, from having it all to having nothing at all, which usually means being dead. (http://www.webpages.uidaho.edu/engl257/Classical/tragic_heroism.htm)

Formula of a Revenge Play Hero, usually informed by a ghost of an injury or crime that needs to be avenged Hero accepts the challenge of revenge and begins to plot it Hero confronts the villain and overcomes the obstacles that stand in the way of revenge Revenge is achieved in a bloody and horrifying way Includes a play within a play Protagonist pretends to be mentally ill to enact his revenge

Plot Structure Act 1 – Introduction (Birth) Act 2 – Rising Action (Growth) Act 3 – Climax (Maturity) Act 4 – Falling Action (Decline) Act 5 – Denouement (Death) Act 1 -- Exposition. We meet the dramatis personae, and time and place are established. We learn about the antecedents of the story. Attention is directed toward the germ of conflict and dramatic tensions. Act 2 -- Complications. The course of action becomes more complicated, the "tying of knots" takes place. Interests clash, intrigues are spawned, events accelerate in a definite direction. Tension mounts, and momentum builds up. Act 3 -- The Climax of Action. The development of conflict reaches its high point, the Hero stands at the crossroads, leading to victory or defeat, crashing or soaring. Act 4 -- Falling Action. Reversals. The consequences of Act 3 play out, momentum slows, and tension is heightened by false hopes/fears. If it's a tragedy, it looks like the Hero can be saved. If not, then it looks like all may be lost. Act 5 -- Catastrophe. The conflict is resolved, whether through a catastrophe, the downfall of the hero, or through his victory and transfiguration.

Writing Style Written in a poetic form called blank verse, which are unrhymed lines of iambic pentameter Characters of noble birth usually speak in verse Exceptions: when Hamlet addresses commoners; when letters or documents are read; during scenes of comic relief; during scenes of madness Servants and members of lower classes speak in prose

Iambic Pentameter Iambic pentameter – a line of verse that contains five iambs (ten syllables) Iamb – two syllables, one unstressed syllable followed by one stressed syllable da DA da DA da DA da DA da DA ~ / ~ / ~ / ~ / ~ / A little more than kin, and less than kind (1.2.66).

Iambic Pentameter Examples “O, that this too too sullied flesh would melt” (1.2.131). “Were thicker than itself with brother’s blood” (3.3.47). KING: Part them; they are incensed. HAMLET: Nay, come, again. (5.2.315-316).

Rosencrantz and Guildenstern Hamlet Ghost of King Hamlet Polonius Gertrude Laertes Horatio Claudius Ophelia Rosencrantz and Guildenstern