1. The Formalistic Approach Applied in Hamlet(II)
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吴怡雯

3. The relationship between the main characters
son
Hamlet
The Ghost
husband
lover
friend
Gertrude
Ophelia
nephew
brother
Fortinbras
wife
brother
daughter
Claudius
father
Polonius
Laertes

4. Plot Summary
Act I:
Demark prince Hamlet was studying in German. On hearing that his father was dead, he returned to Demark immediately, but only to find that his uncle Claudius had been the new king and his mother Gertrude married his uncle. Hamlet felt devastated. At this time, his friend Horatio told him the existence of his father’s ghost. Hamlet went to see the ghost and knew that it was Claudius who killed his father.

5. Plot Summary
Act II:
To revenge for his father, Hamlet pretended to be mad. However, Claudius doubted his madness and asked his friends, Rosencrantz and Guildenstern to try him. Hamlet did talk nonsense, but with enlightening and philosophical sentences, which made his friends unsure about his madness.

6. Plot Summary
Act III:
Claudius listened to Polonius’s advice and asked Ophelia to try out Hamlet’s madness. To prove he’s mad, Hamlet hurt Ophelia’s feelings. At the same time, through Claudius’s reaction towards the play with the similar plot of killing the king, Hamlet is sure that Claudius is the one who killed his own father. When he tries to revenge, he accidentally kills Ophelia’s father, Polonius.

7. Plot Summary
Act IV:
Claudius tries to send Hamlet to England by saying that Hamlet is mad. Claudius secretly asks the English king to kill Hamlet, but the trick has been noticed by Hamlet. He takes the advantage of trap and sends his two betrayed friends to death. He himself returns to Denmark.

8. Plot Summary
Act V:
After so many defeats, Ophelia becomes mad. One day, she slips and falls into the water. When Hamlet returns to Denmark, it is exactly Ophelia’s funeral. Ophelia’s brother, Laertes, being encouraged by Claudius, wants fence with Hamlet. Laertes and Hamlet are both shot by the poisonous sword. Laertes speaks out Claudius’s trick on death and begs for forgiveness. Hamlet finally revenges for his father and dies because of the poison on the sword. His mother also loses her life for mistakenly drinking the poisonous wine.

9. D. Dialectic as Form: The Trap Metaphor in Hamlet
Dialect: a confrontation of polarities
My stronger guilt defeats my strong intent;
And like a man to double business bound,
I stand in pause where I shall first begin,
And both neglect. (III. iii)
Double business bound

10. D. Dialectic as Form: The Trap Metaphor in Hamlet
1. The Trap Imagery
Varying Images Different kinds of entanglement
Polonius: holy vows of heaven
springes to catch woodcocks
Laertes: he is “as a woodcock to mine own springe”
Claudius: O limed soul, that, struggling to be free
Art more engag’d

11. D. Dialectic as Form: The Trap Metaphor in Hamlet
2. The Cosmological Trap
A rhetorical phenomenon (abundant questions & minimal answers) throughout the play, like in the soliloquies of Hamlet

12. D. Dialectic as Form: The Trap Metaphor in Hamlet
2. The Cosmological Trap
How weary, stale, flat and unprofitable
Seem to me all the uses of this world!
Fie on’t, ah, fie, ’tis and unweeded garden
That grows to seed. Things rank and gross in nature
Possess it merely. (I. ii)
The fair, in nature and humanity, inevitably submits to the dominion of the foul
Focus on Denmark as the model of nature and human frailty

13. D. Dialectic as Form: The Trap Metaphor in Hamlet
3. “Seeming” and “Being”
What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god: the beauty of the world, the paragon of animals! And yet to me what is this quintessence of dust? Man delights no to me —— no, nor woman either, though by your smiling you seem to say so. (II. ii)
Paradox of men

14. D. Dialectic as Form: The Trap Metaphor in Hamlet
3. “Seeming” and “Being”
In his warfare against bestiality, however, he asserts his allegiance to heaven-sent reason:

15. What is a man,
If his chief good and market of his time
Be but to sleep and feed? A beast, no more.
Sure he that made us with such large discourse,
Looking before and after, gave us not
That capability and godlike reason
To fust in us unused. Now, whether it be
Bestial oblivion, or some craven scruple
Of thinking too precisely on th’event ——
A thought which, quartered, hath but one part wisdom
And ever three parts coward —— I don’t know
Why yet I live to say, “This thing’s to do,”
Sith I have cause, and will, and strength, and means
To do’t.(IV.vi)

16. D. Dialectic as Form: The Trap Metaphor in Hamlet
3. “Seeming” and “Being”
No simple morality play
The noble prince, like his father before him, is despite his best intensions, sullied by the “foul crimes done in my days of nature”(I.v). All men apparently are, as Laertes says of himself, “as a woodcock to mine own springe” (V.ii). All the beauty and aspiration are reduced ultimately to a “quintessence of dust”.

17. D. Dialectic as Form: The Trap Metaphor in Hamlet
4. “Seeing” and “Knowing”
Ophelia: Lord, we know what we are, but we know not what we may be”(IV.v)
Claudius: Our thoughts are ours, their ends none of our own”(III.ii)

18. O Hamlet, speak no more.
Thou turn’st mine eyes into my very soul,
And there I see such black and grained spots
As will not leave their tinct.(III. iv)
She doesn’t see the ghost of her former husband, nor can she see the metaphysical implications of Hamlet’s reason in madness.
Most people in Denmark are quite content with the surface appearances of life and refuse even to consider the ends to which morality brings everyone.
Idealism turns out to be a poor match for the prison walls of either Denmark or the grave.

19. Thank You!