Act 2– Identity, Language, Word Play, Allusion
1.
Character of Polonius: What does his advice to Reynaldo (in the opening line s of 2.1) tell us about his character and his political methods? Note the idea of setting a trap (sound familiar to anything else going on in this play?)
2.
Hamlet’s Transformation: Re-­‐read Claudius’ opening comments about “Hamlet’s transformation” (2.2.5-­‐
10). Is his account consistent with both Hamlet’s “antic disposition” (1.5.172), and with Ophelia’ description of Hamlet’s behaviour in 2.1?
3.
Rosencrantz and Guildenstern: Rosencrantz and Guildenstern have been referred to as “the knife and fork” partly because they are inseparable and partly because the actors who played these roles are thought to have “fed” lines to the actor playing Hamlet. Are there any indications that Rosencrantz and Guildenstern lack separate, individual identities in this scene?
4.
“Our o’erhasty marriage” (2.2.57). How does this line affect your opinion of Gertrude at this point, if at all?
5.
Poland enters the political conflict: Re-­‐read Voltemand’s account of what has gone on in Norway (2.2.60-­‐
79). Recall the conflict between Denmark and Norway, namely between the two, now-­‐slain kings, King Hamlet and King Fortinbras. Prince Fortinbras’ uncle has taken the throne in Norway, and has intervened in Prince Fortinbras’ plans for revenge against Denmark. What is the position of Poland in this conflict? If the text notes help you, feel free to use them!
6.
Polonius’ Logic: Polonius defines madness (2.2.94). What kind of (il)logic does he use? What is the actual reason Polonius gives for Hamlet’s behaviour? (2.2.140-­‐148). Is Polonius’ plan to reveal Hamlet’s madness to Claudius consistent with his plan to check up on Laertes (ie. the plan described to Reynaldo in 2.2)? – Think about traps again!
7.
Wretch: To be called a wretch is a term of endearment that also carries pity with it. How would Gertrude say her line 2.2.168? With pity? With contempt? With disgust? With shame? With indifference? With resignation? (ie. What is her attitude toward her son at this point?)
8.
Double Entendre: Double entendre is a kind of pun wherein a word or phrase has two meanings. Generally, one meaning is obvious and of honest intention, while the other meaning is “bawdy.” That is, the second meaning usually has a sexual connotation. For example, when Hamlet says, “Conception is a blessing, but as your daughter may conceive” (2.2.184-­‐85), he is playing with the word conceive meaning both understand and impregnate. [Some critics have argued that Hamlet overhears Polonius’ plan to reveal Hamlet’s madness using Ophelia as bait, and is therefore playing on Polonius’ implied fears that Hamlet may have hmmm hmmm “ill intention” with his daughter in his mad state.] Look at Hamlet’s series of exchanges with Rosencrantz and Guildenstern (2.2.228-­‐266). What other double entendres are there?
9.
What a piece of work is man! (2.2.305-­‐314). Hamlet waxes philosophical in this speech. Re-­‐read the speech. It is one of the many oft-­‐quoted parts of this play. Is Hamlet ultimately optimistic or pessimistic about the position of humankind in the world?
10.
The players’ “inhibition” (2.2.333-­‐334). This is an historical reference to the War of the Theatres in London. Your text notes should shed some more light on this topic. Suffice it to say that Shakespeare is voicing his own opinion through the voice of Hamlet. Why might he do this?
11.
More madness: To what extent is Hamlet disclosing that he is ‘playing mad’ to Rosencrantz and Guildenstern when he says, “I am but mad north-­‐north-­‐west. When the wind is southerly, /I know a hawk from a handsaw” (2.2.377-­‐378)?
12.
Classical Allusions: There are several classical allusions between line 395 and line 518. First, Shakespeare shows his indebtedness to the Latin dramatists Seneca and Plautus, whom he mentions. Next, Hamlet calls Polonius Jeptha. What is the meaning of the allusion here? (Refer to your text notes). At length, the player describes the story of Pyrrhus, Priam, and Hecuba. Why is Hamlet so interested in the relationships between Pyrrhus, Priam and Hecuba? (The diagram might help). Note that Shakespeare’s version of the killings is historically inaccurate.
This is the story of the Trojan war told by the surviving Prince Aneas to Dido, Queen of Carthage. Aneas’ father, King Priam, was slaughtered in battle by a brutal Greek soldier, Phyrrus, while Troy was sacked and burned by the Greeks. Phyrrus, dressed in black and covered in blood, searched for old Priam. Phyrrus eventually found Priam and slaughters him. Priam’s wife, Hecuba, witnessed the murder and wailed. Phyrrus’ attack of Priam is revenge for the killing of Phyrrus’ father, Achilles, by Priam’s son Hector.
13.
The Murder of Gonzago: Hamlet asks the players to perform this play, but also asks that he be able to insert a section of about 12-­‐16 lines. What is Hamlet up to here?
14.
Ears: Ears pop up several times in this scene, (see lines 128, 381, 476, and most notably, in the final soliloquy). There are a total of 27 references to ears, many of them violent references, in Hamlet. Why?
15.
“O, what a rogue” soliloquy: This is a long and difficult soliloquy. You should read it at least twice, and consider the following questions:
a) Why is the Prince calling himself a “rogue” and a “peasant slave”?
b) Hamlet compares himself to the player. What does this comparison reveal about Hamlet’s self-­‐perception?
c) Hamlet uses plenty of theatrical terminology in his speech. Find some examples (“cue”, “stage”, and so on). Why might Hamlet be thinking in theatrical terms at this point?
d) Find lines or phrases that explain why Hamlet thinks himself a coward. Do you think he is a coward, or is he acting cautiously by looking for external evidence to prove Claudius’ guilt?