Ophelia's Madness
There is no doubt that Ophelia is quite mad at the end of her life. The last scene that Ophelia appears in her dialogue is almost completely composed of nonsensical little songs. These songs are focused on death, love, and betrayal. Laertes says in line 170, "This nothing's more than matter," about his sister's ramblings. Indeed, her obsession with death and love reveal the cause of her insanity: the death of her father. The death of her beloved father, who she was shown to follow blindly, by none other than her lover broke the last straw. The stress of the last few days events, her brother's departure, the suspicious air at court, Hamlet's crumbling mental state, and finally her father's death were too much to handle and Ophelia cracked. She, like the rarely mentioned Denmark, was just a pitiful, innocent, but very intimately connected bystander.
Hamlet's Madness 2
The beginning of Act V opens with a slight break all the tragedy and seriousness by introducing two comical gravediggers. Hamlet comes across one cheerily digging up to grave of poor Yorik for Ophelia's fresh corpse. Hamlet and Horatio come across this sight and Hamlet's response is telling. While he seems to have the reaction of any sane person, somewhat horrified, his response when compared to Horatio's is telling. Hamlet's dialogue is long winded and a tiny bit comical as he makes legal puns about what one should lose and keep during death. Even when he finds out that the bones being carelessly tossed about by the clown are that of his old friend Yorik, Hamlet's reaction is more amused than sad and upset while he rambles on and on. Horatio's only response are short, unemotional statements. Horatio, who surely would comfort his friend or help him in some way, has no reaction at all. Therefore, the mood and length of Hamlet's speech imply that he is still mad.
However, Hamlet's madness is different from Ophelia's madness. Ophelia insanity was born instantaneously by natural human forces. She had lost all powers of comprehension and reason, and even her own identity in her madness. Hamlet, on the other hand, still was essentially Hamlet even when he became insane. He was still aware of his surroundings, had his reason, and his personality. His madness was born out of obsession, revenge, and supernatural forces (the ghost that was supposedly the "spirit of [his] father).
Sunday, December 6, 2009
Thursday, December 3, 2009
12/3 Hamlet #13B
Hamlet's Madness 1
To say Hamlet had gone completely mad would be false, but to say that he was not mad at all would also be false. In some of the circumstances Hamlet's craziness seems to be purposeful for his endeavours to uncover the king's secret murder and his mother's unfaithfulness. For example, when he and Horatio are getting ready for the play that he has planned and the king and his entourage are about to enter, Hamlet says to his friend something along the lines of "Oh, they're coming. I need to act insane now." This alone shows he has a definite purpose in many of his odd words and behaviors. However, Hamlet's madness does seem to be out of his control at several points as well. One sign of his madness is his shift from utter conviction to spare his mother to wanting to humiliate her at others. His erratic behavior towards Ophelia is also a sign of madness. The most obvious moment of his insanity, however, when he is confronting his mother, he can see the Ghost, but she cannot.
Ophelia and Gertrude
From reading Hamlet, it is clear that Hamlet does not have a positive view about women. He treats them as one disillusioned, which is exactly what he is. His mother was once the loyal and loving wife to the king, but now she is the incestuous, forgetting wife of her husband's murderer. It is not surprising that Hamlet would feel hurt and betrayed by her. However, instead of dealing with it in a healthy way, Hamlet lets this view of an unfaithfulness permeate his outlook on all women, including his loved Ophelia. His dislike for women is obvious in the way that he talks to Gertrude and Ophelia. His bitterness leaks out in his sexual comments and unwarranted attitude towards them. When dealing with Ophelia alone, the reader can see that the prince thinks women are bad influences on men. He states, "Or, if thou wilt needs marry, marry a fool; for wise men know well enough what monster you make of them." Hamlet also thinks of women as uncommitted. In addition to his several comments about Gertrude, this view can be seen when Ophelia comments that the prologue to the play is short and he responds, "As woman's love."
Play within a Play
The events in the play that Hamlet writes are clearly a retelling of how Hamlet suspects his father's murder took place. The speeches put a spotlight on how Hamlet views his parents and uncle's thoughts during this time. The player Queen's speech in particular seems to be a jab at Gertrude. The King's response to the murder of the Player King was the exact clue that Hamlet was looking for. The purpose of the whole play was to set a trap for his uncle so that Hamlet might discover the truth through the king's reaction and then work accordingly. Hamlet is overjoyed at the king's give away of his guilt. His suspicions and the Ghost were right after all. Besides that, the "play-within-a-play" had no underlying significance.
To say Hamlet had gone completely mad would be false, but to say that he was not mad at all would also be false. In some of the circumstances Hamlet's craziness seems to be purposeful for his endeavours to uncover the king's secret murder and his mother's unfaithfulness. For example, when he and Horatio are getting ready for the play that he has planned and the king and his entourage are about to enter, Hamlet says to his friend something along the lines of "Oh, they're coming. I need to act insane now." This alone shows he has a definite purpose in many of his odd words and behaviors. However, Hamlet's madness does seem to be out of his control at several points as well. One sign of his madness is his shift from utter conviction to spare his mother to wanting to humiliate her at others. His erratic behavior towards Ophelia is also a sign of madness. The most obvious moment of his insanity, however, when he is confronting his mother, he can see the Ghost, but she cannot.
Ophelia and Gertrude
From reading Hamlet, it is clear that Hamlet does not have a positive view about women. He treats them as one disillusioned, which is exactly what he is. His mother was once the loyal and loving wife to the king, but now she is the incestuous, forgetting wife of her husband's murderer. It is not surprising that Hamlet would feel hurt and betrayed by her. However, instead of dealing with it in a healthy way, Hamlet lets this view of an unfaithfulness permeate his outlook on all women, including his loved Ophelia. His dislike for women is obvious in the way that he talks to Gertrude and Ophelia. His bitterness leaks out in his sexual comments and unwarranted attitude towards them. When dealing with Ophelia alone, the reader can see that the prince thinks women are bad influences on men. He states, "Or, if thou wilt needs marry, marry a fool; for wise men know well enough what monster you make of them." Hamlet also thinks of women as uncommitted. In addition to his several comments about Gertrude, this view can be seen when Ophelia comments that the prologue to the play is short and he responds, "As woman's love."
Play within a Play
The events in the play that Hamlet writes are clearly a retelling of how Hamlet suspects his father's murder took place. The speeches put a spotlight on how Hamlet views his parents and uncle's thoughts during this time. The player Queen's speech in particular seems to be a jab at Gertrude. The King's response to the murder of the Player King was the exact clue that Hamlet was looking for. The purpose of the whole play was to set a trap for his uncle so that Hamlet might discover the truth through the king's reaction and then work accordingly. Hamlet is overjoyed at the king's give away of his guilt. His suspicions and the Ghost were right after all. Besides that, the "play-within-a-play" had no underlying significance.
Tuesday, December 1, 2009
12/1 Hamlet #13A
Opening Scene
The opening scene of Hamlet sets the mood for the supernatural, quiet, intense mood of the play. Hamlet opens with Bernardo and Francisco changing guard while on watch at the palace. Not only does Horatio's explanation of the tumultuous state of Denmark add a gloomy feel to the scene, but so does the mood Shakespeare sets. It is a cold, silent, haunted night. He describes it as (in line 7) "bitter cold," and (in line 10) so quiet that "not a mouse [was] stirring," during that "dead hour," (line 65). The perfect night for a ghostly appearance. This mood sets the tone for the entire play, including Hamlet's and his comrade's encounter with the ghost of his father, the king. While Hamlet gives no thought to what the motive of the ghost may be, Horatio fears that ghost may just be a malevolent spirit wishing to lure the prince off to an untimely and dramatic death. This fear that Horatio and the other have is understandable considering the mood if the night. Ominous, spooky air would give one pause when intending to follow ghosts.
The Ghost
When Hamlet encounters the ghost of his father, two things are clear: he was murdered for the crown and that murderer was his own incestuous brother. The Ghost, while he identifies himself as the estranged spirit of the king, still speaks of the king's life and death in third person. He shows an un-connectedness to the world around him. The ghost shows no emotion at the sight of seeing his son nor at the mention of his horrid fate after death. The ghost's only focus is the events of his death and the task in which he gives Hamlet. His request is unquestionable, "Revenge his foul and most unnatural murder," (line 25). Hamlet is, naturally, surprised at the ghost's identity and understandably horrified at the circumstances surrounding his death and his uncle's seduction of the king. While he is shocked though, and possibly uncertain of the truth, Hamlet is determined to fulfill the Ghost's request. He even says, "Now to my word [... Uncle,] Adieu, adieu! [...] I have sworn't," (line 110) This seems to be an allusion to his goal of fulfilling the Ghost's task by murdering his uncle.
The opening scene of Hamlet sets the mood for the supernatural, quiet, intense mood of the play. Hamlet opens with Bernardo and Francisco changing guard while on watch at the palace. Not only does Horatio's explanation of the tumultuous state of Denmark add a gloomy feel to the scene, but so does the mood Shakespeare sets. It is a cold, silent, haunted night. He describes it as (in line 7) "bitter cold," and (in line 10) so quiet that "not a mouse [was] stirring," during that "dead hour," (line 65). The perfect night for a ghostly appearance. This mood sets the tone for the entire play, including Hamlet's and his comrade's encounter with the ghost of his father, the king. While Hamlet gives no thought to what the motive of the ghost may be, Horatio fears that ghost may just be a malevolent spirit wishing to lure the prince off to an untimely and dramatic death. This fear that Horatio and the other have is understandable considering the mood if the night. Ominous, spooky air would give one pause when intending to follow ghosts.
The Ghost
When Hamlet encounters the ghost of his father, two things are clear: he was murdered for the crown and that murderer was his own incestuous brother. The Ghost, while he identifies himself as the estranged spirit of the king, still speaks of the king's life and death in third person. He shows an un-connectedness to the world around him. The ghost shows no emotion at the sight of seeing his son nor at the mention of his horrid fate after death. The ghost's only focus is the events of his death and the task in which he gives Hamlet. His request is unquestionable, "Revenge his foul and most unnatural murder," (line 25). Hamlet is, naturally, surprised at the ghost's identity and understandably horrified at the circumstances surrounding his death and his uncle's seduction of the king. While he is shocked though, and possibly uncertain of the truth, Hamlet is determined to fulfill the Ghost's request. He even says, "Now to my word [... Uncle,] Adieu, adieu! [...] I have sworn't," (line 110) This seems to be an allusion to his goal of fulfilling the Ghost's task by murdering his uncle.
Thursday, November 19, 2009
Sunday, November 15, 2009
11/17 The Prince #12A
Human Nature
In the Prince, Machiavelli describes the guidelines that a leader should ascribe to himself. Almost all of these tips pertain to how the "the prince" should act in relation to his people. In his writings, Machiavelli's view on human nature and people in general are seen. To him, humans as purely political, emotional creatures. His view places no faith in man, save for his ideal prince. Machiavelli even says, "For men in general judge more by their eyes than by their hands; everybody is fitted to see, few to understand." While his assumptions about man are seen often in reality often, he places too many expectations in his prince considering his low opinion of everyone else. He writes that people are flighty, unfaithful, and somewhat stupid. Yet, he expects the prince to be and achieve number of extremely difficult to impossible things. His view of man requires impossible acts to be the perfect leader. While his view of man is very pessimistic and somewhat insulting, it is true at many times. Therefore, to have a realistic version of his new government, Machiavelli should have changed his high expectations.
Virtues
Machiavelli makes several great points about that type of qualities a prince should have. For example, when discussing on rather it is better to be a loved ruler or a feared one, Machiavelli supports a feared leader. His explanation makes sense, a feared leader has more control and can make a better country (and so is in the end loved). And when discussing whether the prince should deal with his subjects through politics or violence, Machiavelli suggest politics. However, he add that it will be necessary to use violence and trickery at times, "Hence a prince must know perfectly how to act like a beast and like a man." The author made several points like that are reasonable. However, the thought of one man being able to balance out all these traits and perform them in the manner that Machiavelli prescribes is near impossible. He expects his prince to be perfect, yet no man is perfect. Therefore, no man would be able to posses all the qualities Machiavelli writes about. While "The Prince" is a good example, no leader would be able to do everything written in it.
Thursday, November 12, 2009
11/12 John Donne #11B
Holy Sonnet 14
"John Donne's work Holy Sonnet 14 follows the style of his other poems in it reads and has the imagery of a love poem. As the title suggests, however, this is not an ordinary poem but a love letter to God. In the first line, Donne addresses his words to the "Godhead." The language Donne uses suggest strong, passionate feelings bordering on sexuality, not what one would expect to a love letter to Christ. For instance, Donne even says about his devotion to Christ, "Except you enthrall me, never shall be free, Nor ever chaste, except you ravish me." This use of language like a lover conveys his strong feelings towards his faith. Donne's chosen worldly vehicle (the imagery, feelings like for a lover) to express a religious message fits in with the Renaissance.
Flea Bait
Two of John Donne's poems, "The Flea" and "The Bait," are similar is several ways, but also different. Both are love poems, from one lover to another (presumably to the man to the woman), and both have subjects of things in nature, a flea and fish. Both the poems express adoration and a desire to be together in one way or another. However, in these way they also differ. While "the Bait," does include something from nature, in the "the Flea," the flea is part of their love. The flea is almost put on an equal standard as the two lovers. Their love is intensified because of the flea. In "the Bait," likewise, their love is not affected by the fish, but the fish are affected by the lovers. Another difference between the two is the desires of the speakers. In the "the Flea," the speaker is addressing a woman that he wants to be with, yet cannot. The poem expresses his desire for her. Yet, in "the Bait," it is implied that the two lovers are already together. The speaker of the poem is not expressing his desire, but he is complimenting his lover. In these way, John Donne's poems are very similar, yet also different.
"John Donne's work Holy Sonnet 14 follows the style of his other poems in it reads and has the imagery of a love poem. As the title suggests, however, this is not an ordinary poem but a love letter to God. In the first line, Donne addresses his words to the "Godhead." The language Donne uses suggest strong, passionate feelings bordering on sexuality, not what one would expect to a love letter to Christ. For instance, Donne even says about his devotion to Christ, "Except you enthrall me, never shall be free, Nor ever chaste, except you ravish me." This use of language like a lover conveys his strong feelings towards his faith. Donne's chosen worldly vehicle (the imagery, feelings like for a lover) to express a religious message fits in with the Renaissance.
Flea Bait
Two of John Donne's poems, "The Flea" and "The Bait," are similar is several ways, but also different. Both are love poems, from one lover to another (presumably to the man to the woman), and both have subjects of things in nature, a flea and fish. Both the poems express adoration and a desire to be together in one way or another. However, in these way they also differ. While "the Bait," does include something from nature, in the "the Flea," the flea is part of their love. The flea is almost put on an equal standard as the two lovers. Their love is intensified because of the flea. In "the Bait," likewise, their love is not affected by the fish, but the fish are affected by the lovers. Another difference between the two is the desires of the speakers. In the "the Flea," the speaker is addressing a woman that he wants to be with, yet cannot. The poem expresses his desire for her. Yet, in "the Bait," it is implied that the two lovers are already together. The speaker of the poem is not expressing his desire, but he is complimenting his lover. In these way, John Donne's poems are very similar, yet also different.
Tuesday, November 10, 2009
11/10 The Praise of Folly #11A
Folly
In Erasmus's Praise of Folly, Folly is character that describes her role in people's lives. According to Folly, she is a deity, a goddess. She differs from other gods in that she requires no token of devotion from her subjects nor does her rule only over one region, but the entire world. Folly describes her ways as following the ways of Nature. Being a fool does not step beyond the lot that Nature has given humans, like artists, philosophers, inventors do. Foolishness not hurt anyone, instead not only brings pleasure to the fool and to one observing the fool. Since foolishness is simply thriving in the way Nature has allotted us, why would it hurt anyone? Folly's ways, as Erasmus has described, encourages a selfish, low life style where one is not human, only an animal. One should not think outside what pleases him and what would make oneself a better person. Folly's lifestyle is a degrading, wretched life style that, even if it leads to present happiness, can only lead to misery in the end.
Christian Folly
Erasmus's Christian Folly does not make any sense. He wrote that Christianity is folly, that God hates human wisdom (so he must encourage foolishness) and that even our Savior's act was in itself Folly and that is what, in the end, saves us. While I can understand his point, I believe that Erasmus is missing the entire point of Christianity. His earlier descriptions of Folly describes a life style wrapped up around the individual and even still, Erasmus' view of Christianity is about the individual. I know Christianity to be a faith not about me, but about God. God doesn't like human wisdom, but He doesn't want folly either. He wants us to bring glory to Him through making ourselves better and honoring Him in all our actions. Since Folly is only focused on herself, already it cannot relate to Christianity. Erasmus made some good points, about believing in Christ's folly in the cross (which is what it was), he just doesn't fully grasp the concept. God loves us, and when we accept His love, he are commanded to return that love and act according to God, still leaving the point of emphasis on God. Erasmus' school of thought does not grasp this.
In Erasmus's Praise of Folly, Folly is character that describes her role in people's lives. According to Folly, she is a deity, a goddess. She differs from other gods in that she requires no token of devotion from her subjects nor does her rule only over one region, but the entire world. Folly describes her ways as following the ways of Nature. Being a fool does not step beyond the lot that Nature has given humans, like artists, philosophers, inventors do. Foolishness not hurt anyone, instead not only brings pleasure to the fool and to one observing the fool. Since foolishness is simply thriving in the way Nature has allotted us, why would it hurt anyone? Folly's ways, as Erasmus has described, encourages a selfish, low life style where one is not human, only an animal. One should not think outside what pleases him and what would make oneself a better person. Folly's lifestyle is a degrading, wretched life style that, even if it leads to present happiness, can only lead to misery in the end.
Christian Folly
Erasmus's Christian Folly does not make any sense. He wrote that Christianity is folly, that God hates human wisdom (so he must encourage foolishness) and that even our Savior's act was in itself Folly and that is what, in the end, saves us. While I can understand his point, I believe that Erasmus is missing the entire point of Christianity. His earlier descriptions of Folly describes a life style wrapped up around the individual and even still, Erasmus' view of Christianity is about the individual. I know Christianity to be a faith not about me, but about God. God doesn't like human wisdom, but He doesn't want folly either. He wants us to bring glory to Him through making ourselves better and honoring Him in all our actions. Since Folly is only focused on herself, already it cannot relate to Christianity. Erasmus made some good points, about believing in Christ's folly in the cross (which is what it was), he just doesn't fully grasp the concept. God loves us, and when we accept His love, he are commanded to return that love and act according to God, still leaving the point of emphasis on God. Erasmus' school of thought does not grasp this.
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