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THE TRAGEDY OF HAMLET

THE TRAGEDY OF HAMLET. BY WILLIAM SHAKESPEARE. Objectives. Students will be able to explain how setting, situation, and character work together to generate conflict, dramatic structure, and resolution. (DRAMA)

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THE TRAGEDY OF HAMLET

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  1. THE TRAGEDY OF HAMLET BYWILLIAM SHAKESPEARE

  2. Objectives • Students will be able to explain how setting, situation, and character work together to generate conflict, dramatic structure, and resolution. (DRAMA) • Students will be able to show how features of the poetic style---image, simile, metaphor, and symbol---complement and extend plot in expressing theme. (POETRY) • Students will understand how this tragedy raises issues still relevant to modern society. (THEME)

  3. . Key Terms for Literary Analysis. • SETTING---The imagined time and place of a story, novel, poem, or play. • PROTAGONIST---The main character in a play or novel. • ANTAGONIST---The character opposing the main character or hero.

  4. DRAMATIC CONFLICT---Every play can be thought of as a struggle between two forces. At a specific point early in the play the two forces come into definite conflict and a question is raised as to which of the two forces will triumph. This question creates suspense which holds the interest of the viewer of the play. • CRISIS---The crisis of a plot is that point at which the protagonist makes the crucial decision which determines his or her fate.

  5. RESOLUTION---The resolution of the play occurs when the question of the play as a whole is finally answered. • HAMARTIA---The error in judgment which a tragic protagonist makes which brings about his own suffering or demise. • DILEMMA---A situation in which a character must choose between two equally undesirable courses of action.

  6. TRAGEDY---A type of drama in which a protagonist or hero destroys him or herself by making a crucial error of judgment, often an error based on an excess of virtue, thus exhibiting nobility of soul even in the process of self destruction. • DENOTATION---The literal meaning of a word; the object, action, or idea the word points to. • CONNOTATION---The associations and feelings clustering around a word as opposed to its denotation.

  7. SIMILE---A comparison of dissimilar entities, stated explicitly, usually using the words "like" or "as," for the purpose of transferring attributes of one element (the figurative element) to the other (the literal element). Example: "Her face [literal element] was beaming like the sun [figurative element]." • METAPHOR---A comparison of dissimilar entities, expressed implicitly as an identity, for the purpose of transferring attributes of one element (the figurative element) to the other (the literal element). "Her shining face lit up the room."

  8. SYMBOL---A concrete image which in the course of a work typically comes to draw together and represent a large body of experience and idea. • SOLILOQUY---A speech by a character alone on stage in which his or her innermost thoughts are expressed.

  9. IRONY---Irony is a mode of perception in which two or more views of the same thing exist simultaneously. One view is limited; the other(s) is(are) less limited. There are four types of irony: • VERBAL: the speaker says, fully AWARE that he is doing so, the OPPOSITE of what s/he means as a way of joining himself and the audience in a common view or attitude. • DRAMATIC: the speaker says, UNAWARES, something true of himself but which at the time he believes is the OPPOSITE of what is true. • SOCRATIC: the speaker says, AWARES, something he knows is the OPPOSITE of what is true, for the purpose of eliciting a response from a pupil that will show its logical contradiction. • IRONY OF EVENTS: events that turn out the OPPOSITE of what is wished or expected.

  10. VOCABULARY PROBLEM ONE: OLD WORDS LOOK LIKE MODERN WORDS.

  11. Shakespeare often uses words that seem like modern words but he uses them in an older sense. A good example is the word "unfold" in I.i.2. In everyday modern language the denotation of the word is merely "to open out" or 'to open the folds of,' as in 'unfold that letter' or 'unfold that dress.' Here, however, "unfold," means something like 'identify yourself' or 'say who you are.'

  12. Perhaps the idea connoted is to unfold your cloak from around yourself to show who you are as you step on to the battlements to face the dangers and mystery of life. Used in this way, the verb "unfold" begins to take on metaphorical and symbolic power. The sentry's simple question also reflects the theme of the play as a whole. 'Who are you?' is the question of the whole play.

  13. Claudius has a secret and he folds himself up to hide it. Hamlet takes on the job of unfolding him, of finding the truth. • Hamlet also has a secret, that he is trying to kill Claudius. He has to keep himself folded up. Hamlet himself also has to confront the question, 'Who am I, really? Am I a loyal, courageous son, ready to right injustice in the kingdom or a cowardly, materialistic, fearful timeserver?' • Shakespeare is using his art to ask US the same question. "Who are you REALLY when it comes to matters of justice and injustice, of truth and falsity, of lust and love, of betrayal and fidelity?" Thus, already in the second line of the play, Shakespeare is achieving thematic resonances from his smallest word choices.

  14. 2. VOCABULARY PROBLEM TWO: FIGURATIVE LANGUAGE. • A second reading problem arises because of the extreme metaphorical compression of Shakespeare's language. Horatio's line at I.i.112 is a good example: "A mote it is to trouble the mind's eye." A mote is a speck. A speck in the eye is irritating and won't give you freedom to do anything else until you remove it. The ghost is compared to a mote. The eye is compared to the mind. Even as a mote troubles an eye, so the ghost troubles the mind and will not let it rest until its meaning is clear. Diagramed, the comparison looks like this. Literal Terms Figurative Terms ghost mote mind eye Poetic Point troubling

  15. VOCABULARY PROBLEM THREE: ROOT MEANINGS. • A third problem is that Shakespeare often uses words in their root meanings. An example is in Act I, scene I, line 154, "extravagant . . . spirit." The spirit isn't spending too much money, but rather wandering, which comes from the Latin root, vagari, to wander (compare the modern word "vagrant," a wandering, homeless person), and since the spirit is wandering outside his normal place of habitation, he is wandering "extra . . . ," meaning 'outside the limits of.'

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