Thursday, February 21, 2008

Hamlet: Act 3 Scene 4. Subtext

SCENE IV. The Queen's closet.

Enter QUEEN GERTRUDE and POLONIUS

LORD POLONIUS

He will come straight. Look you lay home to him:
Tell him his pranks have been too broad to bear with,
And that your grace hath screen'd and stood between
Much heat and him. I'll sconce me even here.
Pray you, be round with him.

Lord Polonius acts seriously and surreptitiously. His voice has a worried tone that Gertrude will not follow through with his plans or does not know how to approach Hamlet. Polonius indicates the curtains.

HAMLET

[Within] Mother, mother, mother!

He has a desire to talk to mother. He wants a serious conversation with his mother.

QUEEN GERTRUDE

I'll warrant you,
Fear me not: withdraw, I hear him coming.

She knows she only has one chance to do this for Polonius. She sounds confident that she knows how to act accordingly and nods to Polonius to further assure him.

POLONIUS hides behind the arras

Enter HAMLET

HAMLET

Now, mother, what's the matter?

He looks around the area and is suspicious, but curious about the conversation.

QUEEN GERTRUDE

Hamlet, thou hast thy father much offended.

Her voice is not angry, but has a disappointing tone.

HAMLET

Mother, you have my father much offended.

Hamlet quickly turns his head towards his mother to contradict her accusations. Hamlet is angry and frustrated that she does not realize her disrespectfulness towards his father.

QUEEN GERTRUDE

Come, come, you answer with an idle tongue.

Gertrude evades Hamlet’s accusations by replying in a calming and soothing tone to appear peaceful. She reaches to hold both of his hands to signify no hostility. She tries to calm him to get the response Polonius wants her to get.

HAMLET

Go, go, you question with a wicked tongue.

Hamlet is interested in what she has to talk in the conversation. He is still hostile and suspicious of Gertrude.

QUEEN GERTRUDE

Why, how now, Hamlet!

She is shocked as to why her son is treating her so disrespectfully.

HAMLET

What's the matter now?

Hamlet acts as if he is acting appropriately and his disrespectfulness is justified.

QUEEN GERTRUDE

Have you forgot me?

The Queen is appalled and shocked. She wishes he knew his position in their relationship.

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.

Hamlet is condemning his mother and presenting to her why he is ashamed. Hamlet wants her to feel bad for what she has done and is just trying to annoy her to make her feel guilty and admit her wrongs by pointing toward the king's chamber. Hamlet finishes off this quotation in a childlike immature manner to interest her.

QUEEN GERTRUDE

Nay, then, I'll set those to you that can speak.

At this point, Gertrude is fed up, frustrated, and annoyed with Hamlet’s behavior.

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.

The smile from Hamlets face transitions to a stern look. He lashes back with this reply and is even more frustrated and infuriated that she does not even realize that she is disrespecting herself by continuing her marriage with Claudius.

QUEEN GERTRUDE

What wilt thou do? thou wilt not murder me?
Help, help, ho!

Gertrude is scared because she has never seen her son act this way before. Her voice has an uncertain tone because she does not know what to do because of Hamlet’s unusual behavior (at this point his sword is drawn).

LORD POLONIUS

[Behind] What, ho! help, help, help!

Polonius is also terrified and begins to tremor because of Hamlet’s unusual behavior of drawing a sword in front of his mother.

HAMLET

[Drawing] How now! a rat? Dead, for a ducat, dead!

Makes a pass through the arras

Hamlet is not surprised that there is an eavesdropper and thinks it is King Claudius therefore he stabs through the curtain and in motion he twists his dagger.

LORD POLONIUS

[Behind] O, I am slain!

Falls and dies

Polonius' hands clinch his wound and he accepts the death.

QUEEN GERTRUDE

O me, what hast thou done?

Though Gertrude helped plan this conversation, she acts as if she knew that Polonius died. She is just disappointed, but surprised that Hamlet killed someone.

HAMLET

Nay, I know not:
Is it the king?

Hamlet did expect to kill someone, but is desperate to know if he had fulfilled his goal of avenging his father. He slowly reaches for the curtain, but has not revealed what is behind it.

QUEEN GERTRUDE

O, what a rash and bloody deed is this!

She is amazed that he had killed someone and his desire to kill Claudius.

HAMLET

A bloody deed! almost as bad, good mother,
As kill a king, and marry with his brother.

Hamlet turns towards his mother because he still wants to annoy his mother to make her feel guilty for marrying Claudius.

QUEEN GERTRUDE

As kill a king!

Gertrude is confused about his remark.

HAMLET

Ay, lady, 'twas my word.

Hamlet is calm as he affirms her questioning.

Lifts up the array and discovers POLONIUS

Thou wretched, rash, intruding fool, farewell!
I took thee for thy better: take thy fortune;
Thou find'st to be too busy is some danger.
Leave wringing of your hands: peace! sit you down,
And let me wring your heart; for so I shall,
If it be made of penetrable stuff,
If damned custom have not brass'd it so
That it is proof and bulwark against sense.

The curtain is revealed and Hamlet is unemotional and thinks his killing of Polonius is justified. He turns his back and lets go of the curtain. Hamlet is merciless and does not even budge to apologize. He may even yell at Polonius to tell him that he deserved his death. He thinks his deed is justified.

QUEEN GERTRUDE

What have I done, that thou darest wag thy tongue
In noise so rude against me?

Gertrude is still clueless as to why her son is treating and accusing her of being involved in Hamlet’s death. She replies this quotation with anger and frustration because Hamlet has not given her a definitive answer.

HAMLET

Such an act
That blurs the grace and blush of modesty,
Calls virtue hypocrite, takes off the rose
From the fair forehead of an innocent love
And sets a blister there, makes marriage-vows
As false as dicers' oaths: O, such a deed
As from the body of contraction plucks
The very soul, and sweet religion makes
A rhapsody of words: heaven's face doth glow:
Yea, this solidity and compound mass,
With tristful visage, as against the doom,
Is thought-sick at the act.

Hamlet sighs. In frustration, he explains and condemns his mother for sinning, yet he does not tell her exactly what she had done.

QUEEN GERTRUDE

Ay me, what act,
That roars so loud, and thunders in the index?

Gertrude has a puzzled look on her face. She still does not know what he is talking about and pleas or begs for him to tell her the wrongdoings.

HAMLET

Look here, upon this picture, and on this,
The counterfeit presentment of two brothers.
See, what a grace was seated on this brow;
Hyperion's curls; the front of Jove himself;
An eye like Mars, to threaten and command;
A station like the herald Mercury
New-lighted on a heaven-kissing hill;
A combination and a form indeed,
Where every god did seem to set his seal,
To give the world assurance of a man:
This was your husband. Look you now, what follows:
Here is your husband; like a mildew'd ear,
Blasting his wholesome brother. Have you eyes?
Could you on this fair mountain leave to feed,
And batten on this moor? Ha! have you eyes?
You cannot call it love; for at your age
The hey-day in the blood is tame, it's humble,
And waits upon the judgment: and what judgment
Would step from this to this? Sense, sure, you have,
Else could you not have motion; but sure, that sense
Is apoplex'd; for madness would not err,
Nor sense to ecstasy was ne'er so thrall'd
But it reserved some quantity of choice,
To serve in such a difference. What devil was't
That thus hath cozen'd you at hoodman-blind?
Eyes without feeling, feeling without sight,
Ears without hands or eyes, smelling sans all,
Or but a sickly part of one true sense
Could not so mope.
O shame! where is thy blush? Rebellious hell,
If thou canst mutine in a matron's bones,
To flaming youth let virtue be as wax,
And melt in her own fire: proclaim no shame
When the compulsive ardour gives the charge,
Since frost itself as actively doth burn
And reason panders will.

Hamlet is assured that his mother had no involvement in his father’s death, yet there is a sense of frustration in his voice as he strongly points towards the king's chamber and to her. He calms down and slowly depicts and describes what had occurred.

QUEEN GERTRUDE

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.

Gertrude reputes Hamlet’s accusation and does not believe it. She begins to turn away from him.

HAMLET

Nay, but to live
In the rank sweat of an enseamed bed,
Stew'd in corruption, honeying and making love
Over the nasty sty,--

Hamlet becomes enraged again and criticizes (yelling) her for disrespecting her previous husband as he quickly turns her around.

QUEEN GERTRUDE

O, speak to me no more;
These words, like daggers, enter in mine ears;
No more, sweet Hamlet!

Gertrude does not want to listen to Hamlet’s rants and calmly begs him to stop his criticisms.

HAMLET

A murderer and a villain;
A slave that is not twentieth part the tithe
Of your precedent lord; a vice of kings;
A cutpurse of the empire and the rule,
That from a shelf the precious diadem stole,
And put it in his pocket!

Hamlet ignores her pleas and continues his explanation dramatically. His voice is very loud.

QUEEN GERTRUDE

No more!

Gertrude is really vexed and angry and yells to stop.

HAMLET

A king of shreds and patches,--

Looking deeply into her eyes, the witty Hamlet talks back rebelliously.

Enter Ghost

Save me, and hover o'er me with your wings,
You heavenly guards! What would your gracious figure?

Hamlet performs this quotation in a sarcastic tone of voice to convey the truth behind his theory.

QUEEN GERTRUDE

Alas, he's mad!

Gertrude finally accepts that Hamlet has gone crazy and is overwhelmingly surprised.

HAMLET

Do you not come your tardy son to chide,
That, lapsed in time and passion, lets go by
The important acting of your dread command? O, say!

Talking to the ghost. Hamlet challenges the ghost on whether his actions are inappropriate, excessive, and uncalled for and looks towards his mother.

Ghost

Do not forget: this visitation
Is but to whet thy almost blunted purpose.
But, look, amazement on thy mother sits:
O, step between her and her fighting soul:
Conceit in weakest bodies strongest works:
Speak to her, Hamlet.

Ghost is calm. In his advice to Hamlet, he really emphasizes to only focus on Claudius and not his mother.

HAMLET

How is it with you, lady?

Contrary to his early conversations with his mother, Hamlet acts like a polite and loyal son (like a completely different character). (Almost as if he is bi-polar).

QUEEN GERTRUDE

Alas, how is't with you,
That you do bend your eye on vacancy
And with the incorporal air do hold discourse?
Forth at your eyes your spirits wildly peep;
And, as the sleeping soldiers in the alarm,
Your bedded hair, like life in excrements,
Starts up, and stands on end. O gentle son,
Upon the heat and flame of thy distemper
Sprinkle cool patience. Whereon do you look?

Gertrude is worried for Hamlet. She really cares about him and her voice is shaken because she has not seen this type of behavior from him.

HAMLET

On him, on him! Look you, how pale he glares!
His form and cause conjoin'd, preaching to stones,
Would make them capable. Do not look upon me;
Lest with this piteous action you convert
My stern effects: then what I have to do
Will want true colour; tears perchance for blood.

Hamlet is now very polite.

QUEEN GERTRUDE

To whom do you speak this?

Gertrude is puzzled and now really worried for her son.

HAMLET

Do you see nothing there?

Staring into her eyes, Hamlet is eager to show the ghost to his mother. He thinks she is mocking him.

QUEEN GERTRUDE

Nothing at all; yet all that is I see.

She replies seriously. Hamlet waves his hand vertically before her eyes.

HAMLET

Nor did you nothing hear?

From Hamlet's tone of voice, Hamlet is beginning to think he is crazy. Hamlet peers into Gertrude's ear.

QUEEN GERTRUDE

No, nothing but ourselves.

Gertrude’s reply and serious. She gives him a puzzled look.

HAMLET

Why, look you there! look, how it steals away!
My father, in his habit as he lived!
Look, where he goes, even now, out at the portal!

Exit Ghost

Hamlet is surprised that she cannot see him and points as he says this quotation. His tone of voice is very enthusiastic because he wants Gertrude to see the Ghost.

QUEEN GERTRUDE

This the very coinage of your brain:
This bodiless creation ecstasy
Is very cunning in.

While embracing Hamlet, Gertrude calms him. She wants to teach him that what he saw is a manifestation of the mind. She is worried for him and wants to tell him that he is imagining to ease her minds about him.

HAMLET

Ecstasy!
My pulse, as yours, doth temperately keep time,
And makes as healthful music: it is not madness
That I have utter'd: bring me to the test,
And I the matter will re-word; which madness
Would gambol from. Mother, for love of grace,
Lay not that mattering unction to your soul,
That not your trespass, but my madness speaks:
It will but skin and film the ulcerous place,
Whilst rank corruption, mining all within,
Infects unseen. Confess yourself to heaven;
Repent what's past; avoid what is to come;
And do not spread the compost on the weeds,
To make them ranker. Forgive me this my virtue;
For in the fatness of these pursy times
Virtue itself of vice must pardon beg,
Yea, curb and woo for leave to do him good.

At first, Hamlet is repulsed as to what her mother had said to him and pushes her away. As he lists his justifications and recommendations, he becomes more enthusiastic, passionate, and lively.

QUEEN GERTRUDE

O Hamlet, thou hast cleft my heart in twain.

Gertrude has given up and realizes that Hamlet will not agree with her. She is very saddened and disappointed in her son and slowly begins to follow him.

HAMLET

O, throw away the worser part of it,
And live the purer with the other half.
Good night: but go not to mine uncle's bed;
Assume a virtue, if you have it not.
That monster, custom, who all sense doth eat,
Of habits devil, is angel yet in this,
That to the use of actions fair and good
He likewise gives a frock or livery,
That aptly is put on. Refrain to-night,
And that shall lend a kind of easiness
To the next abstinence: the next more easy;
For use almost can change the stamp of nature,
And either [ ] the devil, or throw him out
With wondrous potency. Once more, good night:
And when you are desirous to be bless'd,
I'll blessing beg of you. For this same lord,

Hamlet has faith that his mother will do the right thing. In his advice, his seriousness is to represent his desire to help his mother and to show his obedience towards his father (Ghost who appeared earlier in this scene). It is to also signify that he is a loyal son.

Pointing to POLONIUS

I do repent: but heaven hath pleased it so,
To punish me with this and this with me,
That I must be their scourge and minister.
I will bestow him, and will answer well
The death I gave him. So, again, good night.
I must be cruel, only to be kind:
Thus bad begins and worse remains behind.
One word more, good lady.

Beginning his “crazy talk” and ranting, Hamlet feels brave and heroic because he thinks he is correcting the wrongs. Again as the quotation progresses, he becomes more energetic.

QUEEN GERTRUDE

What shall I do?

Gertrude has a confused look on her face because she is worried for him.

HAMLET

Not this, by no means, that I bid you do:
Let the bloat king tempt you again to bed;
Pinch wanton on your cheek; call you his mouse;
And let him, for a pair of reechy kisses,
Or paddling in your neck with his damn'd fingers,
Make you to ravel all this matter out,
That I essentially am not in madness,
But mad in craft. 'Twere good you let him know;
For who, that's but a queen, fair, sober, wise,
Would from a paddock, from a bat, a gib,
Such dear concernings hide? who would do so?
No, in despite of sense and secrecy,
Unpeg the basket on the house's top.
Let the birds fly, and, like the famous ape,
To try conclusions, in the basket creep,
And break your own neck down.

Looking at the bedroom, Hamlet feels that Gertrude should seduce the king to appear unsuspicious of what is occurring, but then realizes that they should take no mercy at all as he slowly wraps his hand around his dagger. Throughout this response to Gertrude’s question, Hamlet slowly inspires her to believe him even more.

QUEEN GERTRUDE

Be thou assured, if words be made of breath,
And breath of life, I have no life to breathe
What thou hast said to me.

Like in the beginning of this scene, Gertrude is once again persuaded and now obey to Hamlet’s commands. She becomes more confident as she now believes she is doing the right thing. She reaches to Hamlet's extended hand to acknowledge her duty.

Monday, February 18, 2008

Cicle of Revenge

Vengeance, a vicious circle, is a never-ending process. It does not solve the problem, but rather perpetuates and creates further complications. Though one must avenge a fallen friend or family member because of honor to impose a short-term solution, revenge will continue to unfold until everyone is punished. Vengeance almost always occurs with irrationality except with the intention to preserve one’s honor. However, like in Hamlet’s case, when one must avenge a blood-related family member, he must be cognizant of the repercussions and further bloodshed that will ensue. Likewise, Claudius should have realized what commotion his murder would have caused.

Ever since King Hamlet’s ghost appeared, Hamlet became obsessed with Claudius’ involvement in his father’s death. As I predicted based on what I experienced from previous Shakespearean plays, Hamlet was nearly driven to insanity as he pondered a scheme to seek revenge. Soon his mind became clouded as to whom he should trust in fulfilling his duty. Further complicating, fueling his anger, and stressing his mind are Ophelia’s dishonesty. (I like the clip you showed during class. Though it is not exactly like the play, I believe its effect of having a one-way mirror along with the exceptional acting of the Ophelia and Hamlet transcends what Shakespeare intended, in that it accurately provides us with a dramatic image that depicts his anger and tension.) Hamlet became depressed and saddened as he realized that not even his true love was supporting him. Having realized this, Hamlet decided that avenging his father’s death was all that he had to live for in his “terrible world”. I believe that readers can fully understand his desire to continue suffering in order to kill Claudius in his “To be or not to be” soliloquy. The most influential quotation addresses what suffering and pain he has endured to a point where he contemplated suicide. From this incident, he finally accepted that if he were to die by his own hand, he could neither fulfill his faithful duty nor die honorably.

When Claudius was praying, Hamlet had the absolute opportunity to kill him. However, having taken his father’s murder to a personal vendetta, Hamlet aborted the idea because he wanted Claudius to experience pain, guilt, and suffering. Shakespeare’s ability to convey Claudius’ suffering guilt cannot be expressed any better in how the burdened Claudius prays for forgiveness, “O, my offense is rank! It smells to heaven. / It hath the primal eldest curse upon’t / A brother’s murder. Pray can I not, / Though inclination be as sharp as will; / My stronger guilt defeats my strong intent… What if this cursed hand / were thicker than itself with brother’s blood, / Is there not rain enough in the sweet heavens / To wash it white as snow.” Having a person to constantly feel guilty seems like a suitable punishment that serves as a peaceful solution to revenge that will prevent further bloodshed. I think Hamlet should have stopped seeking revenge after he forced Claudius to reminisce about killing his brother because that guilt can haunt and torment the mind. (514)

Saturday, February 2, 2008

It Is Not Always Good To Be The King

Sophocles’s Antigone is a prime example that defines a tragedy because both of the main characters suffer from a disagreement in their beliefs that eventually lead to their downfalls. By heavily playing with our emotions, this story puzzles our minds for whom we sympathize. Though he is not doing the right thing, Creon, like Oedipus, must stand steadfastly to adhere to the commands of his law to retain his strong and royal appearance. Sadly, Creon is in a quandary on whether law or morality should take priority over Antigone’s punishment. If he does not punish Antigone, he will appear as a weak king. On the other hand, if he punishes Antigone, he will suffer punishments from the gods. Because of his decision, it is his ego and pride that cause him and the world around him to collapse. Although we all disapprove Creon’s decision to punish those respecting the dead, we feel sorry for him because his action causes the demise of his son, wife, and future daughter-in-law. If Creon had looked the other way and ignored the fact that someone committed the trivial crime of burying a dead soldier in a matter of respect, he would have had a prosperous and very fulfilling life with his family. Since Creon seems indifferent and unsympathetic about the death of Polyneices (related in blood), we tend to favor Antigone and feel empathetic for her early in the play. We also sympathize for Antigone because she is punished for doing her required duty of mourning and respecting the death of a family member.

Creon should have seen this train wreck coming. Having experienced Oedipus’s ordeal and realizing the priceless information Teiresias possesses, Creon, despite his royal position, should be subordinate to and trust the blind prophet because Teiresias has the symbolic eyes of a god. If Creon’s attention had not been excessively consumed by upholding the law instead of recognizing his prophecy, he could have avoided this tragedy. After all, he saw that the tragic downfall of Oedipus confirms the clairvoyant’s prediction. At times during the play that foreshadow death, I became frustrated because I wished I could have shouted to Creon to listen to the Teiresias’ valuable insight into his fate. Once the audience or reader is introduced with the prophecy, their emotions and attitudes towards Creon shift from disdain to sympathy because his ego causes him to become oblivious to Teiresias’ advice. Our emotions are enhanced when we see him realize that it is too late to fix his mistakes.

Creon approached Polyneices’ scenario with utterly no rationality of a king. Respecting the dead, regardless if it is a deceased friend or foe, always takes priority. Kings must show that they are grateful, respectful, and compassionate to their warriors for they are the Kings’ faithful servants. Creon should have realized that these dead soldiers sacrificed their lives for something they strongly had supported. Being the rightful heir to the throne, Polyneices died for a reason–he was supposed to be the king. The fact that Polyneices was also a blood relative to Creon made me abhor Creon’s judgment, which leads me to believe that he deserved his punishment.

Fort Minor-Kenji

Fort Minor - Kenji
My father came from Japan in 1905

He was 15 when he immigrated from Japan
He, he... he worked until he was able to buy this patch
And build a store

Let me tell you the story in the form of a dream,
I don't know why I have to tell it but I know what it means,
Close your eyes, just picture the scene,
As I paint it for you, it was World War II,
When this man named Kenji woke up,
Ken was not a soldier,
He was just a man with a family who owned a store in LA,
That day, he crawled out of bed like he always did,
Bacon and eggs with wife and kids,
He lived on the second floor of a little store he ran,
He moved to LA from Japan,
They called him 'Immigrant,'
In Japanese, he'd say he was called "Issei,"
That meant 'First Generation In The United States,'
When everyone was afraid of the Germans, afraid of the Japs,
But most of all afraid of a homeland attack,
And that morning when Ken went out on the doormat,
His world went black 'cause,
Right there; front page news,
Three weeks before 1942,
"Pearl Harbour's Been Bombed And The Japs Are Comin',"
Pictures of soldiers dyin' and runnin',
Ken knew what it would lead to,
Just like he guessed, the President said,
"The evil Japanese in our home country will be locked away,"
They gave Ken a couple of days,
To get his whole life packed in two bags,
Just two bags - couldn't even pack his clothes,
Some folks didn't even have a suitcase to pack anything in,
So two trash bags was all they gave them,
When the kids asked "Mom, where are we goin'?"
Nobody even knew what to say to them,
Ken didn't wanna lie, he said "The U.S. is lookin' for spies,
So we have to live in a place called Manzanar,
Where a lot of Japanese people are,"
Stop it, don't look at the gunmen,
You don't wanna get the soldiers wonderin',
If you're gonna run or not,
'Cause if you run then you might get shot,
Other than that try not to think about it,
Try not to worry 'bout it bein' so crowded,
Someday we'll get out, someday, someday...

As soon as war broke out
The G.I. came and they just come to the house and
"You have to come"
"All the Japanese have to go"
They took Mr. Nii
People didn't understand
Why did they have to take him
Because he is just innocent neighbour

So now they're in a town with soldiers surroundin' them,
Every day, every night look down at them,
From watch towers up on the wall,
Ken couldn't really hate them at all;
They were just doin' their job and,
He wasn't gonna make any problems,
He had a little garden with vegetables and fruits,
That he gave to the troops in a basket his wife made,
But in the back of his mind, he wanted his families life saved,
Prisoners of war in their own damn country,
What for?
Time passed in the prison town,
He wondered if he'd live it down if and when they were free,
The only way out was joinin' the army,
And supposedly, some men went out for the army - signed on,
And ended up flyin' to Japan with a bomb,
That 15 kiloton blast put an end to the war pretty fast,
Two cities were blown to bits; the end of the war came quick,
Ken got out, big hopes of a normal life with his kids and his wife,
But, when they got back to their home,
And what they saw made them feel so alone,
These people had trashed every room,
Smashed in the windows and bashed in the doors,
Written on the walls and the floor,
"Japs not welcome anymore."
And Kenji dropped both of his bags at his sides and just stood outside,
He looked at his wife without words to say,
She looked back at him, wiping the tears away,
And said "Someday we'll be okay, someday,"
Now the names have been changed, but the story's true,
My family was locked up back in '42,
My family was there where it was dark and damp,
And they called it an internment camp

When we first got back from camp... uhh
It was... pretty... pretty bad

I, I remember my husband said
"Are we gonna stay 'til last?"
Then my husband died before they close the camp.