Hamlet's News Feed

Saw this a few months back, and wanted to share it now that we've finished with the play.  See it close up here.

Too much water hast thou, poor Ophelia...

As we have examined some of the different representations of Hamlet, we have seen how the play leaves many events and people open to debate and interpretation.  Just like Hamlet, over the last several hundred years, Ophelia has become a muse in her own right.  She has inspired songs, art, poetry, a sequel to Hamlet, and was even used by early psychologists as the face of female madness against which other patients were compared.

The video here, by Kula Shaker, is one of the most closely aligned with the play - note how Hamlet's love note to Ophelia actually makes its way into the lyrics.  But this is by no means the only music video on Opehelia; a simple search on youtube will yield hundreds.  Similarly, you can trace Ophelia's evolution through the work of artists in a google search, as well as in this gallery, who seek to breathe life back into Ophelia, to represent her tragedy, or to remind us all that Ophelia was an important part of the play, too.

John Everett Millais' Ophelia

You can find a full explication of this painting here.

This summer when I had the chance to go to London, I made it a point to stop by the Tate Museum to see the famous "Ophelia" by John Everett Millais.  This is perhaps one of the most famous paintings of Ophelia, perhaps because of its hauntingly realistic appearance, or the eerie peace in death that it conveys.  Or maybe it is because, as some people say, you can see a skull hidden in it.  This picture is from my trip, but you can take a closer look here.  

Representing Ophelia

Shakespeare's characterization of Ophelia does not offer the audience a full picture of who she is and what her motivation might be.  As Elaine Showalter writes in "Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism," in , there can be Hamlet without Ophelia, but there is no Ophelia without Hamlet.  Her character’s existence is dependant on that of Hamlet’s.  

Despite this, or maybe because of it, Ophelia has been such a source of inspiration over hundreds of years, and each artist chooses to represent Ophelia in a different way.   What do you notice about the way that Ophelia is portrayed in the John Everett Millais painting?  What characteristics does the artist imbue in his version of Ophelia?  How does it differ from other artistic represenations of Ophelia?

Follow some of the links above (and here) to research Ophelia and consider:  How do you believe Shakespeare intended Ophelia to be portrayed?  What were her final moments like?  Did she intentionally drown herself?  Did she just give in after the branch underneath her broke?  Did Gertrude let her die?

What do you believe is the reason for Ophelia’s madness?  What contributed to her demise, in your opinion?  Do you feel sorry for her?  Indifferent? How might you 'represent Ophelia?' 

Your Task

As we see in the play, the circumstances of her death prevent Ophelia from having a proper burial.  After you have considered the questions above for yourself, construct a 'eulogy' for Ophelia.  What words would you read at her funeral? 

Because this is a fictitious assignment, you can choose to honor Ophelia, or you can agree that she perhaps did not deserve more in the way of burial rites.  This, of course, is open to your opinion, depending on how effectively you support it.  

In at least 2 paragraphs, eulogize Ophelia; give her the burial rites you believe she deserves based on whatever your opinion of her character is.  

You can visit the blog here, or do a simple search to find out more about writing a eulogy.

The Universality of Hamlet

“The phenomenon of Hamlet, the prince without the play, is unsurpassed in the West’s imaginative literature. . . . Hamlet remains apart; something transcendent about him places him more aptly with the biblical King David, or with even more exalted scriptural figures. Charisma, an aura of the preternatural, attends Hamlet, both within and beyond Shakespeare’s tragedy. . . . We hardly can think about ourselves as separate selves without thinking about Hamlet, whether or not we are aware that we are recalling him.”      

—Harold Bloom 

Hamlet is perhaps one of the most prominent plays in literature, and as we read it you might recognize some of the speeches, symbols, and themes.  Chances are, now that we have been reading it, you will now notice parts of the play in life that you may not have noticed before.


In addition to the versions that we have seen in class, there are new versions of the play that continue to be made as directors and actors look to put their own stamp on the play and the legacy of Hamlet. (See:  Hamlet: Prince of Cuba and The Play that Stalin Hated for some examples)


Many people regard Hamlet as the 'everyman,' the kind of protagonist that we all can relate to in some way.  He asks the questions we all do at some point in life.  Why are we here? What is the purpose of life?  How should we take action and why is so hard not to take action?  And as we will read in the final act with the 'Yorrick' scene, what does it all matter if in the end we only return to dust?


As you start to think about your own film versions, I want you first to consider the ubiquity and universality of Hamlet.  Do you agree that there is something timeless about the character and the play itself?  Or do you struggle to connect with it?  What will your interpretation of the play lend to the legacy of Hamlet?


Please publish you response as a comment on this page.

Sigmund Freud

For those of you still reeling from the Psychoanalytic interpretation of Hamlet, here is an excerpt from the man himself, taken from his book, The Interpretation of Dreams.

Also, here is a great outline on Psychoanalytic theory, if you are interested in reading an overview of what Freud believed.

It is definitely interesting and worth learning more about and, as I said in class, will certainly be something you will learn about in Psychology in college.

Hamlet's Dilemma

Good morning all, sorry that I can't be there today, but by now I expect that you should be able to handle  finishing a blog post in class on your own (even if it is a Friday).  Please try to stay focused enough to finish by today.  BTW....Please note that my 7th period has been added to the bottom right.  Please think of responding to them, too!

There are a few things to make sure you have completed before you start...

• First, did you write your reflection on the ghost scene?  If not do so first.
• Next, did you comment on at least one person's reflections?  If not, do that.
• Then, did you write your "To be or not to be" reflections?  Make sure you've done that.
• Now, (this is new) reflect on at least one other person's blog for the "To be or not to be" scene.  Make sure you make appropriate comments, highlight what you liked about their ideas, and think critically about what they noticed.
• Finally, if you are done with all of that, your third entry for Hamlet on your personal page should be about the following question in 1-2 paragraphs....

Do you agree or disagree with Hamlet's hesitation to kill Claudius?  Is he right for waiting, and thinking about it carefully?  Or should he have just shut up and done it already?

Consider carefully the ethical implications of murder, and the cultural issues of honor and filial obligation.  Consider also religious ramifications, as they are a thematic focus in the play.  And of course, consider whether you think Claudius is really guilty,  what would be the cost if he were not, and what might happen to poor Hamlet if he killed the king considering everyone things he is a madman.

Thank you for your cooperation and remember that I will be at my computer during my meeting, if you have questions, and I will be looking to see what you are writing during the period, so make sure you're really working. Enjoy your weekend and I will see you on Monday!

PLEASE REMEMBER THAT FOR FULL CREDIT, YOUR RESPONSES MUST MEET THE LENGTH REQUIREMENTS GIVEN.

"To Be or Not To Be..."

The following links will bring you to the videos that we viewed in class.  Take a moment to review them before considering the prompt.

Olivier's Hamlet             Zeffirelli's Hamlet  

Branaugh's Hamlet      Almereyda's Hamlet

Your Task:

Reflect on each film version of Hamlet's soliloquy in more depth. Consider using some of your notes to guide you.

In each version of the play, what is the setting? What effect does this have? What is the director trying to convey?

Is there any music? What mood does this set?

What choices does the director make about lighting or props? Do these choices reinforce the theme of his speech?

What figurative aspects of the speech are represented literally (if any)? How does the director use these symbols throughout the speech?

What is the emotion with which the actor repeats the lines? How does this change throughout the speech? What effect does this have?

Why are there so many versions of this play? What do you think that says about the universality of Hamlet? Which version of the play did you like the most (do not think of putting Schwarzenegger's)? What about this version was most effective in your opinion?

The First Ghost Scene

Analyze

Using the three versions of the ghost scene that we watched in class, offer your commentary on each film.  Consider some of the following points in your critique:

• How did the actors portray the characters?
• Was there music?
• What was the lighting like?
• Were there special effects?
• How did the director use visual elements (such as flashback) to add depth to the scene?

Overall what was the effect of these choices?  Do you agree or disagree with the choices the director made?  Which version resonated with you the most?

Extend

If you were to interpret this scene through film yourself, how would you approach it?  What in particular would you focus on?  What in your opinion, is important about this scene and how would you want to convey that?  

For example, what do you want to leave your audience with after watching this scene?  Is it the despair that the ghost feels? Or Hamlet's frustration?  Do you find fault with Gertrude, and want to cast doubt about her involvement?  Or is Hamlet imagining this scene?  Could you, through directorial choices, convey that Hamlet is imagining all this? 

Assignment 

Address these questions, or other topics which you feel are relevant, in a minimum of 2-3 paragraphs.   When you refer to the movies you should use the director's last name to note the different versions, and when you refer to the characters, use the actor's last names.

First Version

Director: (Franco) Zeffirelli     Hamlet: (Mel) Gibson

Second Version

Director: (Kenneth) Branagh    Hamlet: (Kenneth) Branagh

Third Version

Director: (Michael) Almereyda   Hamlet: (Ethan) Hawke

 Film Version Links

Zeffirelli Version (short clip, but enough to see part of it)

Branagh Version

Director's Commentary on the Branagh Version

A Sample of Old English

In starting Shakespeare, many of you often mistake Shakespearean language for Old English.  Actually Old English, is something so different from our own language it's virtually indecipherable.  Even Middle English is quite difficult to understand.  Surprisingly, Shakespeare actually wrote in MODERN ENGLISH! It's just that vocabulary usage changes over time and place, so it's harder for us to understand it now.

Even in modern times there are words in English that the British use, that we find confusing, strange, or silly (and vice versa).  And you may know that a Spanish word that a Puerto Rican would use would mean something completely different than what someone from Spain might understand it to mean.  In the same way, people in Elizabethan England would think you were pretty confusing, too!  Language is given meaning by those who use it, and it is constantly changing.  So much so that the Oxford English Dictionary adds new words every year!

Since some of you were curious about Old English, I thought I would post a sample of Beowulf (which you will read next year), in its original Old English format, to give you a sense of what it looks like.  You can also read more of it here.

1-21
HWÆT, WE GAR-DEna in geardagum, 
þeodcyninga þrym gefrunon, 
hu ða æþelingas ellen fremedon! 
oft Scyld Scefing sceaþena þreatum, 
monegum mægþum meodosetla ofteah, 
egsode eorlas, syððanærest wearð
feasceaft funden; he þæs frofre gebad,
weox under wolcnum weorðmyndum þah,
oð þæt him æghwylc ymbsittendra
ofer hronrade hyran scolde, 
gomban gyldan; þæt wæs god cyning! 
Ðæm eafera wæs æfter cenned 
geong in geardum, þone God sende 
folce to frofre; fyrenðearfe ongeat, 
þe hie ær drugon aldorlease 
lange hwile; him þæs Liffrea, 
wuldres Wealdend woroldare forgeaf, 
Beowulf wæs breme --- blæd wide sprang--- 
Scyldes eafera Scedelandum in. 
Swa sceal geong guma gode gewyrcean, 
fromum feohgiftumon fæder bearme,