Words and images. Act 1 Scene 1 SCENE 1

Transcription

1 Scene 1 2 Stand halt, stand still unfold identify 4 carefully punctually 10 The watch my fellow-sentries for the night-shift 12 ground place, territory liegemen Dane loyal subjects of the Danish king 13 Give you God give you SCENE 1 Enter Francisco, a soldier, patrolling on sentry duty. After a moment, enter Barnardo, another soldier Barnardo Who s there? Francisco Nay, answer me. Stand and unfold yourself. Barnardo Long live the King! Francisco Barnardo? Barnardo He. Francisco You come most carefully upon your hour. Barnardo Tis now struck twelve. Get thee to bed, Francisco. Francisco For this relief much thanks. Tis bitter cold, And I am sick at heart. Barnardo Have you had quiet guard? Francisco Not a mouse stirring. Barnardo Well, good night. If you do meet and Marcellus, The rivals of my watch, bid them haste. Francisco Enter and Marcellus I think I hear them. Stand! Who s there? Friends to this ground. And liegemen to the Dane. Give you good night. O farewell, honest soldier. Who hath relieved you? Marcellus Francisco Marcellus 10 Words and images 2 Nay, answer me Francisco is the guard on duty; Barnardo comes to relieve him. So Francisco should be calling out Who s there?, not Barnardo. This suggests that Barnardo is jumpy, even scared, perhaps. Something is not quite right 19 this thing Marcellus makes clear what everyone appears to be afraid of: a ghost has appeared more than once to the guards on the night shift. 28 Tush, tush, twill not appear s university education has taught him to discredit anything that is not reasonable or provable. A ghost is nothing more than a person s fantasy. He alone remains sceptical. 6

2 Francisco Barnardo has my place. Give you good night. He goes off Marcellus Holla, Barnardo! Barnardo Say what, is there? A piece of him. Barnardo Welcome,. Welcome, good Marcellus. Marcellus What, has this thing appeared again tonight? Barnardo I have seen nothing. Marcellus says tis but our fantasy, And will not let belief take hold of him Touching this dreaded sight twice seen of us. Therefore I have entreated him along With us to watch the minutes of this night, That if again this apparition come He may approve our eyes and speak to it. Tush, tush, twill not appear. Barnardo Sit down a while, And let us once again assail your ears, That are so fortified against our story, What we two nights have seen. Well, sit we down, And let us hear Barnardo speak of this. Barnardo Last night of all, When yon same star that s westward from the pole Scene 1 17 A him what s left of him. (He is so cold he can t feel parts of himself.) 21 but fantasy just our imaginations 23 Touching regarding dreaded fearsome, awe-inspiring 24 entreated along begged him to come along 25 watch minutes keep watch for the period 27 approve eyes confirm what we saw 29 assail bombard 30 fortified against resistant to 31 What i.e. with details of what 33 Last all just last night 34 pole the pole star, visible only in the northern hemisphere The lookout I am sick at heart This is the first of many references in to sickness and corruption. Take note of as many other references as you can while you read the play. Later, think about why Shakespeare puts so many such images into the text. The answer will become apparent as the plot develops. The play opens in darkness: the text tells us it is night; it is very cold; and the guards appear to be on edge. The speeches are mostly short and clipped. But what of the pace? Do we play this very fast, the guards moving about quickly, perhaps even bumping into each other in the dark, interrupting each other s speeches? Or do we take it slowly, leaving silences between speeches, with night noises filling the air? 7

3 Scene 1 35 made course travelled across the night sky t illume to shine in 37 bell i.e. of the church clock beating one striking one o clock 39 figure shape, outward appearance 41 Mark it observe it closely 42 harrows me tears me apart 43 would be wants to be 44 usurp st night takes advantage of the darkness 45 fair form i.e. the suit of armour 46 buried Denmark the dead king referred to in line sometimes formerly 52 fantasy imagination 53 on t about it Had made his course t illume that part of heaven Where now it burns, Marcellus and myself, The bell then beating one Enter the Ghost wearing full armour, holding a truncheon, with the visor of its helmet raised Marcellus Peace, break thee off. Look where it comes again! Barnardo In the same figure like the King that s dead. Marcellus (to ) Thou art a scholar speak to it,. Barnardo Looks it not like the King? Mark it,. Most like. It harrows me with fear and wonder! Barnardo It would be spoke to. Marcellus Question it,. (to the Ghost) What art thou that usurp st this time of night, Together with that fair and warlike form In which the majesty of buried Denmark Did sometimes march? By heaven, I charge thee speak. Marcellus It is offended. Barnardo See, it stalks away. (to the Ghost) Stay, speak, speak, I charge thee speak! The Ghost walks off Marcellus Tis gone, and will not answer. Barnardo How now,? You tremble and look pale. Is not this something more than fantasy? What think you on t? Words and images 46 buried Denmark King, once king of Denmark, and s father as the Ghost will later reveal. 48 It is offended has spoken rudely to the Ghost, and has accused it of having no right to be out at that time of night ( usurp st this time of night ), and no right to look like the late King of Denmark. 51 You tremble and look pale Barnardo can t resist having a dig at : the scholar who refused to believe in ghosts is now pale and trembling. 67 bodes some strange eruption The appearance of ghosts was thought to precede times of upheaval or disaster. In the background Thou art a scholar speak to it It was generally believed that ghosts could not speak until they were spoken to. Ghosts were the subject of much learned argument in Shakespeare s day, and as a university student would be able to speak and read Latin, the language in which the debate about ghosts was frequently conducted. Latin was also the language used for exorcising an evil spirit, which is what Marcellus and the others are afraid this apparition may turn out to be. 8

4 Before my God, I might not this believe Without the sensible and true avouch Of mine own eyes. Marcellus Is it not like the King? As thou art to thyself. Such was the very armour he had on When he th ambitious Norway combated. So frowned he once when in an angry parle He smote the sledded Polacks on the ice. Tis strange. Marcellus Thus twice before, and just at this dead hour, With martial stalk hath he gone by our watch. In what particular thought to work I know not, But in the gross and scope of my opinion This bodes some strange eruption to our state. Marcellus Good now, sit down, and tell me, he that knows, Why this same strict and most observant watch So nightly toils the subject of the land, And why such daily cast of brazen cannon, And foreign mart for implements of war, Why such impress of shipwrights, whose sore task Does not divide the Sunday from the week: What might be toward that this sweaty haste Doth make the night joint-labourer with the day, Who is t that can inform me? That can I At least the whisper goes so: our last king Whose image even but now appeared to us, Scene 1 55 sensible avouch undeniable evidence 59 Norway king of Norway 60 So frowned he he frowned just like that (perhaps when offended at line 48) 61 smote defeated 63 dead dark and silent 65 In not I can t begin to understand this 66 in opinion as far as I can see 67 bodes forecasts, is a warning of to about to happen to watch land state of alert is required of the people 71 cast casting, manufacture 72 mart trade 73 impress compulsory hiring shipwrights shipbuilders sore arduous 75 toward about to happen 76 Doth day is making some trades work twenty-four hour shifts 78 so like this last late, recently deceased Presenting a ghost on a modern stage is difficult. We need to convince the audience to take it seriously. In one production of a huge, threemetre high puppet was used. Together with effective lighting, it towered over everyone creating a powerful sense of menace as it glided silently on and off stage. In another production, no ghost was visible: a white light was shone onto the faces of the characters who could see it; and in yet another production, it was there when some blue lighting illuminated it, and disappeared when the lighting was turned off. How else can we portray the Ghost? 9

5 Scene 1 81 pricked on incited emulate envious, competitive 82 Dared combat challenged him to an individual fight to the death 83 this world the whole of Europe 84 sealed compact mutual sworn agreement 85 heraldry rules for single combat 87 stood on was the legal owner of 88 moiety competent similar amount (of land) 89 gagèd pledged, staked had returned would have been handed over 91 2 as designed in terms of the agreement by which 93 His i.e. Fortinbras s lands young Fortinbras his son 94 unimprovèd mettle untested military ambition 95 skirts border areas, outlying regions 99 our state the government 100 of from strong hand force 101 compulsative not to be denied 104 head origin, motive 105 post-haste rummage hurry and commotion Was, as you know, by Fortinbras of Norway, Thereto pricked on by a most emulate pride, Dared to the combat; in which our valiant For so this side of our known world esteemed him Did slay this Fortinbras, who by a sealed compact, Well ratified by law and heraldry, Did forfeit with his life all those his lands Which he stood seized on to the conqueror; Against the which a moiety competent Was gagèd by our King, which had returned To the inheritance of Fortinbras Had he been vanquisher, as by the same covenant And carriage of the article designed His fell to. Now sir, young Fortinbras, Of unimprovèd mettle hot and full, Hath in the skirts of Norway here and there Sharked up a list of landless resolutes For food and diet to some enterprise That hath a stomach in t which is no other And it doth well appear unto our state But to recover of us by strong hand And terms compulsative those foresaid lands So by his father lost. And this, I take it, Is the main motive of our preparations, The source of this our watch, and the chief head Of this post-haste and rummage in the land Words and images our last king in the land King, spurred on by King Fortinbras of Norway to a fight to the death, kills Fortinbras. As a result of an agreement made by both kings before the fight, all Fortinbras s personal estates went to King. Now, Fortinbras s son is preparing an army to invade Denmark to get back the lands forfeited by his father s death. As a result of this growing threat, Denmark is making ready for war. 82 our valiant King, whose ghost has just been seen Sharked stomach in t He has persuaded a bunch of young men with no inheritance to join him in a bold venture For food and diet stomach in t suggests the men are like food, as if the enterprise about to be undertaken (a war) needs food to fill its stomach. Cannon fodder, in fact. 102 And this, I take it Why does talk for so long? He could have answered Marcellus s question much more concisely. s formal education and his intellectual status are shown by his use of long, complex sentences, and abstract vocabulary. He is also very knowledgeable on the recent history and politics of the region. 110 A mote See Matthew, vii. 3 5 in the New Testament. the mind s eye considers this illusion a small thing yet still it undermines the function of the imagination and weakens judgement Disasters eclipse This is a reference to the second coming of Jesus: the sun be darkened, and the moon shall not give her light (Matthew, xxiv. 29). 123 climatures, the scholar, compares these Danish omens with the unnatural events preceding Julius Caesar s assassination. 10

6 I think it be no other but e en so: Well may it sort that this portentous figure Comes arméd through our watch so like the king That was and is the question of these wars. A mote it is to trouble the mind s eye. In the most high and palmy state of Rome, A little ere the mightiest Julius fell, The graves stood tenantless and the sheeted dead Did squeak and gibber in the Roman streets: As stars with trains of fire and dews of blood, Disasters in the sun; and the moist star Upon whose influence Neptune s empire stands Was sick almost to doomsday with eclipse. And even the like precurse of fierce events, As harbingers preceding still the fates And prologue to the omen coming on, Have heaven and earth together demonstrated Unto our climatures and countrymen. Bernardo Re-enter Ghost But soft, behold lo, where it comes again! I ll cross it though it blast me. Stay, illusion! The Ghost spreads its arms If thou hast any sound or use of voice, Speak to me. If there be any good thing to be done That may to thee do ease and grace to me, Speak to me. If thou art privy to thy country s fate Which happily foreknowing may avoid, O speak! Scene sort turn out portentous important, significant, ominous, fateful 108 arméd clad in a suit of armour watch guard, lookout 110 mote speck of dust mind s eye imagination 111 palmy wealthy, with servants waving palm leaves to keep Caesar cool 113 tenantless empty sheeted in burial shrouds 114 gibber make inarticulate sounds (e.g. gibberish) 115 trains trails (of comets) 116 Disasters sun eclipses, ominous signs, warnings of disaster moist star the moon 117 Neptune s empire the sea 119 precurse heralding catastrophe, forewarning of doom 120 harbingers messengers, forerunners going on ahead still ever fates events in the future 121 coming on fulfilling itself 123 climatures territories, regions 125 cross it cross its path though even if 131 privy to able to foresee 132 happily perhaps avoid be prevented Tools of the trade Filling in the background s long speech dealing with the history of Denmark information needed to put the plot and characters in context is a common device in plays. Since the audience is very unlikely to know any of this, a character is asked an appropriate question to which he gives answer. Here,, as a scholar, is the ideal character to be asked to provide the background history. This device is used more than once in. Look out for further examples of it. In the background Our valiant Did slay this Fortinbras At the end of the play (Act 5, Scene 1, line 143) we learn that this defeat happened on the day young was born, thirty years previously. is recounting a legendary event in Danish history it is the stuff of which heroic myths are made. 11

7 Scene uphoarded hoarded up 135 Extorted treasure wealth unfairly gained 138 partisan long-handled weapon (see illustration below) 141 majestical overbearing, officious 142 offer of threaten it with 144 vain futile 146 started suddenly reacted 148 trumpet trumpeter 149 lofty high-pitched Th extravagant confine any straying ghost returns to its proper place 154 made probation offered proof 156 gainst just before Or if thou hast uphoarded in thy life Extorted treasure in the womb of earth For which, they say, you spirits oft walk in death The cock crows Speak of it, stay and speak. Stop it, Marcellus! Marcellus Shall I strike at it with my partisan? Do, if it will not stand. Barnardo Tis here. Tis here. The Ghost disappears Marcellus Tis gone. We do it wrong, being so majestical, To offer it the show of violence, For it is as the air invulnerable, And our vain blows malicious mockery. Barnardo It was about to speak when the cock crew. And then it started like a guilty thing Upon a fearful summons. I have heard The cock, that is the trumpet to the morn, Doth with his lofty and shrill-sounding throat Awake the god of day, and at his warning, Whether in sea or fire, in earth or air, Th extravagant and erring spirit hies To his confine; and of the truth herein This present object made probation. Marcellus It faded on the crowing of the cock. Some say that ever gainst that season comes Wherein our saviour s birth is celebrated The bird of dawning singeth all night long; And then, they say, no spirit can walk abroad, Words and images 145 when the cock crew Cocks crow at the first sign of daylight. A very long tradition held that ghosts had to return to wherever they came from before dawn broke the morn eastern hill The darkness of a frightening night begins to give way to the dawn. Plays were performed in the afternoon in the theatres of Shakespeare s day, so here the actors tell the audience what they obviously cannot see Though yet of your duty The first part of Claudius s speech (to line 39) has two themes. First, the people of Denmark have had to mix the sorrow of King s death with the joy of Claudius s coronation and marriage: one auspicious and one drooping eye. Second, Denmark has to pay attention to Fortinbras, who is preparing to invade their country while, as he supposes, the country is unstable because of the change of leadership: our state to be disjoint and out of frame. 8 our sometime sister Claudius has married his sister-in-law, the late king s wife, and s mother.

8 The nights are wholesome; then no planets strike, No fairy takes, nor witch hath power to charm So hallowed and so gracious is the time. So have I heard, and do in part believe it. But look, the morn in russet mantle clad Walks o er the dew of yon high eastern hill. Break we our watch up, and by my advice Let us impart what we have seen tonight Unto young ; for upon my life, This spirit, dumb to us, will speak to him. Do you consent we shall acquaint him with it, As needful in our loves, fitting our duty? Let s do t, I pray; and I this morning know Where we shall find him most conveniently. Marcellus SCENE 2 They go off Flourish of trumpets. Enter Claudius, King of Denmark, Gertrude the Queen, Polonius, his son Laertes and daughter Ophelia, Prince dressed in black, with other courtiers and attendants Though yet of our dear brother s death The memory be green, and that it us befitted To bear our hearts in grief and our whole kingdom To be contracted in one brow of woe, Yet so far hath discretion fought with nature That we with wisest sorrow think on him Together with remembrance of ourselves. Therefore our sometime sister, now our queen, Claudius Scene strike do harm to people 161 takes hurts anyone 164 russet mantle reddishbrown cloak 171 As loves as our love for him obliges us to do 1 yet still, as yet 2 green fresh, recent that befitted although it s appropriate for us 4 contracted knitted together 5 so nature practical good sense has limited our natural grief to the extent 7 with ourselves with being mindful of our own affairs 8 sometime sister former sister-in-law We need to consider several important stage effects here: a ghost fading away (on page 12); dawn breaking; and the huge contrast between the dark emptiness of the night and the beginning of Scene 2 with its fanfares, a crowd of splendidly dressed courtiers, and all the ceremony of a newly crowned king. What would be the most effective way of presenting each of these? 13

9 Scene 2 9 imperial jointress joint ruler 10 defeated frustrated 11 auspicious happy, optimistic 13 dole grief 14 barred failed to consult 15 6 gone along given your support to my action 17 Now know next, you should know that 18 weak supposal low opinion 19 by as a result of 20 disjoint frame in chaos and disorder 21 Colleaguèd advantage thinking he s stronger than us 23 Importing about 24 with law in a completely legal way (see Act 1, Scene 1, lines 82 93) 25 So for that s enough about 28 Norway the King of Norway 29 impotent sick, helpless 31 His herein his going any further with his plans 31 3 in subject since all the money and troops he raises belong to the King of Norway 37 business negotiate 38 dilated articles detailed instructions Th imperial jointress of this warlike state, Have we as twere with a defeated joy, With one auspicious and one dropping eye, With mirth in funeral and with dirge in marriage, In equal scale weighing delight and dole, Taken to wife. Nor have we herein barred Your better wisdoms, which have freely gone With this affair along. For all, our thanks. Now follows that you know young Fortinbras, Holding a weak supposal of our worth, Or thinking by our late dear brother s death Our state to be disjoint and out of frame, Colleaguèd with the dream of his advantage, He hath not failed to pester us with message Importing the surrender of those lands Lost by his father, with all bonds of law, To our most valiant brother. So much for him. Enter Valtemand and Cornelius Now for ourself, and for this time of meeting, Thus much the business is: we have here writ To Norway, uncle of young Fortinbras Who, impotent and bed-rid, scarcely hears Of this his nephew s purpose to suppress His further gait herein, in that the levies, The lists, and full proportions are all made Out of his subject; and we here dispatch You, good Cornelius, and you, Valtemand, For bearers of this greeting to old Norway, Giving to you no further personal power To business with the King more than the scope Of these dilated articles allow Words and images Have we Taken to wife Equal scale is the keynote of this section of Claudius s speech. He carefully balances references to his sorrow for the death of his brother, the late king, with his joy at his marriage. The new king is being as careful and as diplomatic as he can. Why? 27 Thus much the business is Claudius is keen to show himself as being fully in control of the state: at once he seeks to prevent war with Fortinbras by appealing to the man s uncle to stop him. 42 And now, Laertes After the affairs of state, Claudius turns to Court matters, and quickly shows how generous and warm-hearted he can be to his subjects. Is he being genuine, or is he overdoing it? 60 Upon his will hard consent Polonius is playing on the image of sealing a will or other document with molten wax, upon which a pattern from a signet ring is stamped before the wax cools and solidifies. 64 But now, my cousin, and my son Finally, Claudius addresses his stepson, but the word son seems to have been unwise. interrupts immediately, and shows little affection or respect for his new father. It s Claudius s only slip. 65 A little more than kin, and less than kind s first words are like a riddle. It means something like, I am more closely related to you than a cousin (or kinsman), since you are now my father; but I am less affectionate than a son should be to a father. There was a saying at the time, the nearer in kin, the less in kindness, which meant that the closer people were related to each other, the more they hated each other. Is there something of this in s line? 14

10 Farewell, and let your haste commend your duty. In that and all things will we show our duty. We doubt it nothing, heartily farewell. ValteMand claudius laertes ValteMand and cornelius go off And now, Laertes, what s the news with you? You told us of some suit. What is t, Laertes? You cannot speak of reason to the Dane And lose your voice. What would st thou beg, Laertes, That shall not be my offer, not thy asking? The head is not more native to the heart, The hand more instrumental to the mouth, Than is the throne of Denmark to thy father. What would st thou have, Laertes? Dread my lord, Your leave and favour to return to France, wto show my duty in your coronation, Yet now I must confess, that duty done, My thoughts and wishes bend again towards France And bow them to your gracious leave and pardon. Have you had your father s leave? What says Polonius? He hath, my lord, wrung from me my slow leave By laboursome petition, and at last Upon his will I sealed my hard consent. I do beseech you give him leave to go. Take thy fair hour, Laertes. Time be thine, And thy best graces spend it at thy will. But now, my cousin, and my son A little more than kin, and less than kind. claudius Polonius claudius HaMlet Scene 2 39 commend duty be the sign of your loyalty to me (rather than a lengthy speech on departure) 43 suit request 44 of reason reasonably the Dane the Danish king 45 lose voice speak in vain 46 shall asking I wouldn t give you without you asking for it 47 native naturally related 48 instrumental to dedicated to serving Why does he keep asking this? 50 Dread my lord my respected lord (expressing humble submission to authority) 56 bow submit for approval leave pardon permission and approval 59 laboursome strenuous, constant 60 will desire hard reluctant 62 Take hour enjoy being young 63 thy will do yourself credit in the process The lookout Taken to wife We have not heard the last of this marriage; more will soon be revealed. And watch closely for s reaction to what his mother has done. How do characters react to Claudius? Consider each actor in turn: his new wife Gertrude; Laertes; Polonius;. Even if actors are not speaking, they are still acting. What do they do? What expressions do they have on their faces when they talk to the king? Claudius needs careful thought: how do we read him at this stage? What do we want the audience to believe about him? 15

11 Scene 2 68 nightly colour 1) black mourning clothes 2) depressed mood 70 vailèd lids downcast eyes 72 common universal 78 customary conventional (for mourning) 79 windy breath insincere sighing 80 fruitful river plentiful tears 81 haviour visage facial expression 82 forms, moods ways of showing feelings 83 denote describe, define 85 passeth show can t be expressed 86 These but these outward shows are only 92 do sorrow to perform the rituals of mourning 93 condolement grief How is it that the clouds still hang on you? Not so, my lord, I am too much i th sun. Good, cast thy nightly colour off, And let thine eye look like a friend on Denmark. Do not for ever with thy vailèd lids 70 Seek for thy noble father in the dust. Thou know st tis common all that lives must die, Passing through nature to eternity. Ay, madam, it is common. If it be, Why seems it so particular with thee? Seems, madam? Nay, it is. I know not seems. Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath No, nor the fruitful river in the eye 80 Nor the dejected haviour of the visage, Together with all forms, moods, shows of grief That can denote me truly. These indeed seem, For they are actions that a man might play; But I have that within which passeth show These but the trappings and the suits of woe. Tis sweet and commendable in your nature,, To give these mourning duties to your father; But you must know your father lost a father; That father lost, lost his; and the survivor bound 90 In filial obligation for some term To do obsequious sorrow. But to persever In obstinate condolement is a course Claudius Gertrude Gertrude Claudius Words and images 67 too much i th sun plays on the words son (which Claudius used earlier) and sun : How can I be under a cloud when I m so in the light ( i th son ) of your presence?, but also, when I m so much your son? is sneering at the king. 82 all forms, moods, shows of grief argues that the outward signs of mourning black clothing (lines 77 8), sighing (line 79), weeping (line 80), and looking unhappy (line 81) are not necessarily indications of real grief. His grief is genuine, and is far deeper than his trappings of woe indicate. 92 obsequious sorrow Here obsequious comes from obsequies, which are the rituals of a funeral service. 94 impious stubbornness Why mourning for too long might be impious (irreverent) is explained by Claudius in lines the most immediate to our throne Claudius sees as his successor. Denmark elected its kings, and Claudius as outgoing monarch would have a major vote. 120 obey you, madam probably stresses the word you, implying that he will obey his mother, but not Claudius. 16

12 Of impious stubbornness, tis unmanly grief, It shows a will most incorrect to heaven, A heart unfortified, a mind impatient, An understanding simple and unschooled; For what we know must be, and is as common As any the most vulgar thing to sense, Why should we in our peevish opposition Take it to heart? Fie, tis a fault to heaven, A fault against the dead, a fault to nature, To reason most absurd, whose common theme Is death of fathers, and who still hath cried From the first corpse till he that died today, This must be so. We pray you throw to earth This unprevailing woe, and think of us As of a father; for let the world take note You are the most immediate to our throne, And with no less nobility of love Than that which dearest father bears his son Do I impart towards you. For your intent In going back to school in Wittenberg, It is most retrograde to our desire, And we beseech you bend you to remain Here in the cheer and comfort of our eye, Our chiefest courtier, cousin, and our son. Let not thy mother lose her prayers,. I pray thee stay with us, go not to Wittenberg. I shall in all my best obey you, madam. Why, tis a loving and a fair reply! Be as ourself in Denmark. (To Gertrude) Madam, come. This gentle and unforced accord of Gertrude Claudius Scene 2 95 incorrect disobedient 96 unfortified prey to emotion, self-indulgent 97 simple unschooled ignorant and undisciplined 99 As sense as the most ordinary things we re aware of 100 peevish sulky 101 fault to offence against 104 who i.e. reason (line 103), good sense 107 unprevailing pointless 109 most immediate next in succession 112 impart towards offer to 113 school university 114 retrograde contrary 115 bend you consent 122 Be ourself consider yourself equal to me 123 unforced accord willing agreement In the background Wittenberg The university at Wittenberg in Germany was famous as the birthplace of the Protestant Reformation, since it was where Martin Luther had studied. In 1517, he proclaimed his challenge to the established Catholic Church by nailing his ninety-five theses (beliefs) about the Christian faith to the door of the city s cathedral. Clearly, has little love or respect for the new king. His response at line 120 is to his mother, despite Claudius s longwinded attempt to convince him to stop mourning his father. How might Claudius react to this? Does he hesitate a moment before his response at line 121? When he talks to, does he do it as a caring man, concerned for his stepson s grief, or is there perhaps a little menace in some parts of his speech? If so, where? And what does do through Claudius s long speech? 17

13 Scene grace celebration 125 jocund Denmark happy toast that I as king 126 But tell shall miss being marked by a cannon shot 127 rouse toast bruit proclaim (in the echo of the cannon shot) 128 Re-speaking imitating 130 resolve dissolve 132 canon divine law 133 weary tedious 134 uses ordinary activities 136 rank offensive 137 merely completely 138 But just 139 to this compared to Claudius 140 Hyperion the sun god 141 might beteem wouldn t allow increase on her desire for him used to increase the more it was satisfied 147 ere before 148 followed i.e. at his funeral 150 wants lacks discourse of the capacity to Sits smiling to my heart; in grace whereof, No jocund health that Denmark drinks today But the great cannon to the clouds shall tell, And the King s rouse the heavens shall bruit again, Re-speaking earthly thunder. Come, away! Flourish of trumpets. All except go off O that this too too solid flesh would melt, Thaw, and resolve itself into a dew, Or that the Everlasting had not fixed His canon gainst self-slaughter! O God, O God, How weary, stale, flat, and unprofitable Seem to me all the uses of this world! Fie on t! O fie, fie! Tis an unweeded garden That grows to seed; things rank and gross in nature Possess it merely. That it should come to this! But two months dead nay, not so much, not two So excellent a king, that was to this Hyperion to a satyr, so loving to my mother That he might not beteem the winds of heaven Visit her face too roughly. Heaven and earth, Must I remember? Why, she would hang on him As if increase of appetite had grown By what it fed on, and yet within a month Let me not think on t; frailty, thy name is woman A little month, or ere those shoes were old With which she followed my poor father s body, Like Niobe, all tears, why she, even she O God, a beast that wants discourse of reason Would have mourned longer! married with mine uncle, Words and images 139 to this That is, to this king, Claudius. s anger comes from two things: firstly, he regards Claudius as woefully inferior to his father; secondly, he is deeply shocked by the speedy marriage of his mother to her brother-in-law. Normally, a woman would mourn the death of her husband for at least a year. 146 frailty, thy name is woman Here frailty means giving in to temptation. s poor opinion of women has been triggered by his mother s behaviour, but such opinions about women were common at the time. 157 incestuous sheets Marriage to a brother-inlaw was forbidden by the Church. is disgusted at the thought of his mother s readiness for sex so soon after her husband s death, and with such a boor of a man. 174 We ll teach you to drink s joy at seeing his university friend again quickly turns to cynicism, as he suggests that Denmark has become a country of drunks. Remember Claudius s comment at line

14 My father s brother, but no more like my father Than I to Hercules; within a month, Ere yet the salt of most unrighteous tears Had left the flushing of her gallèd eyes, She married. O most wicked speed, to post With such dexterity to incestuous sheets! It is not, nor it cannot come to good. But break, my heart, for I must hold my tongue. Enter, Marcellus, and Barnardo Hail to your lordship. I am glad to see you well. or I do forget myself. The same, my lord, and your poor servant ever. Sir, my good friend; I ll change that name with you. And what make you from Wittenberg,? Marcellus. My good lord. I am very glad to see you. (To Barnardo) Good even, sir. But what in faith make you from Wittenberg? A truant disposition, good my lord. I would not have your enemy say so, Nor shall you do mine ear that violence To make it truster of your own report Against yourself. I know you are no truant. But what is your affair in Elsinore? We ll teach you to drink deep ere you depart. Marcellus Scene unrighteous insincere 155 left eyes had stopped making her eyes red and sore 156 post rush 163 change exchange (the title of servant ; they are being elaborately polite) 164 make brings 168 truant disposition tendency to bunk classes 171 truster of believe 173 affair business In the background Tools of the trade Soliloquy In a soliloquy, a character who is alone on the stage voices his or her thoughts aloud. The words spoken reveal to the audience the character s intentions and state of mind. The soliloquy was a popular dramatic convention of Shakespeare s time. This was one way for a dramatist to indicate precisely what was going on in a character s mind. Hyperion to a satyr / Niobe / Hercules These are figures out of ancient Greek mythology. Hyperion was one of the names of the sun god, and satyrs were the wild and disruptive followers of Bacchus (the god of wine), with the legs of a goat. They were identified with lechery and drunkenness. makes the strongest possible contrast between his father and his uncle. Niobe was the mother whose fourteen children were killed by the gods after she had boasted about her fertility. She was a common symbol of bereavement in the literature of Shakespeare s time. Hercules was the greatest of the Greek heroes, famed for his enormous strength and endurance. isn t going to be that kind of hero: he tells the audience that he s just a regular guy. 19

15 Scene hard upon very soon after The tables the leftovers from the funeral were served up again cold at the wedding 181 dearest foe worst enemy 182 Ere before 192 Season admiration control your amazement 193 attent attentive 198 dead waste desolate silence My lord, I came to see your father s funeral. I prithee do not mock me, fellow-student; I think it was to see my mother s wedding. Indeed, my lord, it followed hard upon. Thrift, thrift,. The funeral baked meats Did coldly furnish forth the marriage tables. Would I had met my dearest foe in heaven Ere I had ever seen that day,. My father methinks I see my father O where, my lord? In my mind s eye,. I saw him once. He was a goodly king. He was a man. Take him for all in all, I shall not look upon his like again. My lord, I think I saw him yesternight. Saw? Who? My lord, the King your father. The King my father? Season your admiration for a while With an attent ear till I may deliver, Upon the witness of these gentlemen, This marvel to you. For God s love let me hear! Two nights together had these gentlemen, Marcellus and Barnardo, on their watch, In the dead waste and middle of the night, Words and images 179 Thrift, thrift, ironically suggests that they saved money by having the wedding so soon after the funeral. His bitter remark shows how insensitive he believes his mother has been by remarrying so swiftly. 184 O where, my lord With the previous night s image of the Ghost still fresh in his mind, for a second, thinks that has just seen it as well. How would he say this line? 196 Two nights together reports the appearance of the Ghost accurately, and makes no attempt to influence s reception of the news one way or the other. Character file HAMLET A university student, has returned home for the funeral of his father, whom he clearly loved and respected. While still coping with his loss, he witnesses the coronation of his uncle a man for whom he has little respect and the remarriage of his mother. His world has fallen apart: it has become weary, stale, flat and unprofitable. He has even thought about taking his own life. With this despair there is anger: those he has loved seem to have betrayed him. But the arrival of his friend and the news of his father s ghost are a turning point: his interest in life is temporarily restored. See pages 63, 75, 87, 119, 163, 171, 175

16 Been thus encountered. A figure like your father, Armed at all points exactly, cap-à-pie, Appears before them, and with solemn march Goes slow and stately by them. Thrice he walked By their oppressed and fear-surprisèd eyes Within his truncheon s length, whilst they distilled Almost to jelly with the act of fear Stand dumb and speak not to him. This to me In dreadful secrecy impart they did, And I with them the third night kept the watch, Where, as they had delivered, both in time, Form of the thing, each word made true and good, The apparition comes. I knew your father; These hands are not more like. But where was this? My lord, upon the platform where we watched. Did you not speak to it? My lord, I did, But answer made it none. Yet once methought It lifted up it head and did address Itself to motion like as it would speak, But even then the morning cock crew loud, And at the sound it shrunk in haste away And vanished from our sight. Tis very strange. As I do live, my honoured lord, tis true, And we did think it writ down in our duty To let you know of it. Marcellus Scene Armed pie wearing full armour from head to foot (French cap a pied). See lines stately majestically 203 oppressed eyes eyes that were overwhelmed by fear 204 distilled melted, turned 205 with the act as a result 207 dreadful terrified impart communicate 209 delivered said, related 213 platform ramparts 216 it its did speak seemed to be getting ready to speak 218 even then at that very moment 222 writ duty our clearly-defined duty Character file HORATIO Also a university student, is s closest friend. He has already revealed something of his nature: the scholar who likes to be certain of his facts; the thinker who doesn t believe in ghosts. But now that he has seen one, he reports the news of it without bias. He is diplomatic too: Indeed, my lord, it followed hard upon ; I saw him once. He was a goodly king. In many ways, he will be a foil for his friend. When s emotions erupt, will be the stabilising force; the force for thought and reason over passion and outrage. Whether or not his influence will work on remains to be seen. See pages 93,

17 Scene Armed wearing armour 228 beaver visor 229 What how countenance expression 236 tell count 239 grizzly grey Indeed, indeed, sirs; but this troubles me. Hold you the watch tonight? Barnardo and Marcellus We do, my lord. Armed, say you? Barnardo and Marcellus Armed, my lord. From top to toe? Barnardo and Marcellus My lord, from head to foot. Then saw you not his face. O yes, my lord, he wore his beaver up. What looked he? Frowningly? A countenance more In sorrow than in anger. Pale or red? Nay, very pale. And fixed his eyes upon you? Most constantly. I would I had been there. It would have much amazed you. Very like, very like. Stayed it long? While one with moderate haste might tell a hundred. Barnardo and Marcellus Longer, longer. Not when I saw t. His beard was grizzly, no? 230 Words and images Armed, say you? His beard was grizzly, no? questions and the Guards thoroughly to find out every detail of the Ghost s visit. He s making absolutely sure, not that there was a ghost, but that the Ghost was his father s. Unlike his friend, seems to need no persuading that there are such things as ghosts. 255 I doubt some foul play It was commonly believed that a ghost would appear to reveal a crime that had been committed. is the first to suspect that his father s ghost is walking because of some foul play committed during his life. 256 Foul deeds will rise No evil act can be hidden forever. Sooner or later, it will be revealed. Tools of the trade Rhyming couplets Most of the scenes in Shakespeare s plays end with a rhyming couplet (here, lines 256 7). This provides a kind of sign off to the scene; it adds more finality to the last lines. 22

18 It was as I have seen it in his life, A sable silvered. I ll watch tonight. Perchance Twill walk again. I warrant you it will. If it assume my noble father s person I ll speak to it though hell itself should gape And bid me hold my peace. I pray you all, If you have hitherto concealed this sight, Let it be tenable in your silence still, And whatsoever else shall hap tonight, Give it an understanding but no tongue. I will requite your loves. So fare ye well. Upon the platform twixt eleven and twelve I ll visit you. Our duty to your honour. Your love, as mine to you. Farewell. All three All but go off My father s spirit in arms! All is not well. I doubt some foul play. Would the night were come. Till then, sit still, my soul. Foul deeds will rise, Though all the earth o erwhelm them, to men s eyes. He leaves Scene sable silvered black streaked with white Perchance maybe 242 warrant bet 243 assume take on 244 gape open 245 bid me i.e. make me (since to communicate with the devil would lead to my damnation) 246 concealed sight kept what you ve seen a secret 247 tenable maintained 248 hap occur, happen 250 requite loves repay your loyalty 255 doubt suspect Would I wish, if only In the background Though hell itself should gape considers the possibility that the Ghost is a devil that has taken his father s form. In old religious plays of the period, the entrance to hell ( Hellmouth ) was set up on one side of the stage: from it devils would appear and into it the damned would be dragged to perdition. 23

19 Scene 3 SCENE 3 1 necessaries luggage 2 as whenever give benefit allow ships to sail 3 And assistant and a ship is sailing in my direction 5 the favour his casual flirting with you 6 Hold fashion treat it as him showing off a toy in blood getting aroused 7 violet early spring flower the nature the springtime of his life 8 Forward pushy, impetuous 9 perfume minute offering him only a brief moment of pleasure nature bulk growing up isn t just about physical size and strength 12 thews sinews his waxes a man s body develops 13 inward service spiritual awareness 14 withal at the same time 15 soil cautel blemish or deceitful purpose 16 virtue will purity of his intentions 17 His weighed if you consider his royal status 24 The lookout Laertes reappears only in Act 4. He will be a very different man from the one we see in this scene. Laertes Enter Laertes and Ophelia, his sister My necessaries are embarked. Farewell. And, sister, as the winds give benefit And convoy is assistant, do not sleep But let me hear from you. Do you doubt that? For and the trifling of his favour, Hold it a fashion and a toy in blood, A violet in the youth of primy nature, Forward not permanent, sweet not lasting, The perfume and suppliance of a minute, No more. No more but so? Think it no more. For nature crescent does not grow alone In thews and bulk, but as his temple waxes The inward service of the mind and soul Grows wide withal. Perhaps he loves you now, And now no soil nor cautel doth besmirch The virtue of his will; but you must fear, His greatness weighed, his will is not his own, For he himself is subject to his birth. Ophelia Laertes Ophelia Laertes Words and images 4 10 Do you doubt that? No more but so? How is Ophelia reacting to these instructions from her brother? 5 44 For and the trifling none else near In this very long and complex speech, Laertes is warning his sister not to be seduced by because the choice of wife is not his to make. If she loses her virginity to him, her reputation will be ruined that body the head The body here is Denmark, of which, as the future king, will be the head It deed It would be wise to believe it no further than he s able to turn his words into reality keep desire Laertes uses an image of the battlefield to warn Ophelia against s attentions, telling her to stay out of the firing line is moon She is acting rashly even if she exposes her beauty only to the moon (the symbol of chastity). 10

20 He may not, as unvalued persons do, Carve for himself, for on his choice depends The sanity and health of the whole state; And therefore must his choice be circumscribed Unto the voice and yielding of that body Whereof he is the head. Then if he says he loves you, It fits your wisdom so far to believe it As he in his peculiar sect and force May give his saying deed, which is no further Than the main voice of Denmark goes withal. Then weigh what loss your honour may sustain If with too credent ear you list his songs, Or lose your heart, or your chaste treasure open To his unmastered importunity. Fear it, Ophelia, fear it, my dear sister, And keep within the rear of your affection, Out of the shot and danger of desire. The chariest maid is prodigal enough If she unmask her beauty to the moon. Virtue itself scapes not calumnious strokes. The canker galls the infants of the spring Too oft before their buttons be disclosed, And in the morn and liquid dew of youth Contagious blastments are most imminent. Be wary then; best safety lies in fear; Youth to itself rebels, though none else near. I shall th effect of this good lesson keep Ophelia Scene 3 19 unvalued unimportant 20 Carve himself do as he likes 22 circumscribed restricted 23 voice and yielding vote and consent 29 weigh calculate 30 credent gullible, credulous list listen to 31 chaste treasure virginity 32 importunity pressing demands 36 chariest most cautious 38 scapes strokes can t avoid being a target for envy 39 canker parasite (planteating insect) galls ruins 40 buttons disclosed buds are open 42 blastments diseases affecting plants and flowers 44 to rebels is sexually tempted against its better judgement 45 effect general point Character file LAERTES What are we to make of Laertes from this speech? On the one hand, he seems to be very concerned about the well-being of his sister, and wants to ensure that she is not going to be hurt in what increasingly appears to be a dangerous place for an innocent young woman. On the other hand, his language is so full of elaborate metaphors and moral proverbs that it sounds in places more like a sermon than kindly advice. Is he being protective of his sister, or does he fear she may be weak in the face of s expressions of love? What do you think? This short scene between brother and sister needs careful direction. It is the first time in the play that we meet ordinary people doing ordinary things: Laertes is about to go back to France, and in his farewell to his kid sister he gives her advice that he no doubt considers wise. But how do they relate to each other? Is Ophelia listening seriously to all he says? Do the two of them simply stand on the stage and talk to each other, or can we give them something to do while they talk? See pages 142,

21 Scene 3 46 watchman to protector of 47 ungracious immoral 49 puffed arrogant libertine sinner 50 Himself i.e. one of the ungracious pastors dalliance sexual misconduct 51 recks rede ignores his own advice to others 53 blessing i.e. on departure (Laertes has already said goodbye to his father.) 56 sits shoulder of is filling 57 stayed for awaited 58 precepts rules, guides to good conduct 59 character inscribe tongue voice, verbal expression 60 Nor act and don t act on any unruly thoughts 61 familiar friendly 62 their tried who ve proved worth having 64 dull palm get callouses (by shaking hands with everyone) 67 Bear t that handle it in such a way that 69 censure opinion As watchman to my heart. But, good my brother, Do not, as some ungracious pastors do, Show me the steep and thorny way to heaven Whilst like a puffed and reckless libertine Himself the primrose path of dalliance treads And recks not his own rede. O fear me not. Laertes Polonius Enter Polonius I stay too long but here my father comes. A double blessing is a double grace; Occasion smiles upon a second leave. Yet here, Laertes? Aboard, aboard, for shame! The wind sits in the shoulder of your sail, And you are stayed for. There my blessing with thee, And these few precepts in thy memory See thou character. Give thy thoughts no tongue, Nor any unproportioned thought his act. Be thou familiar, but by no means vulgar. The friends thou hast, and their adoption tried, Grapple them to thy soul with hoops of steel, But do not dull thy palm with entertainment Of each new-hatched unfledged comrade. Beware Of entrance to a quarrel, but being in, Bear t that th opposèd may beware of thee. Give every man thine ear but few thy voice. Take each man s censure, but reserve thy judgement Words and images 46 But, good my brother Ophelia is no walkover: she has listened to her brother s advice, but she makes it clear his advice is only valuable if he himself follows it. Her reprimand silences Laertes, and his response to her suggests arrogance Give thy thoughts false to any man Now it is Polonius s turn to warn and advise his son: keep your thoughts to yourself; be friendly, but not too friendly; be true to your real friends; be careful not to make new friends with just anyone; don t quarrel, but if you do, bear yourself well; listen to other people s opinions but don t let them make up your mind for you; take criticism from others, but weigh it up carefully; wear what you can afford, and don t follow the latest fashions; don t borrow or lend anything; be true to yourself. How would you react to this advice? 73 And they in France Remember that Laertes is returning to France (Act 1, Scene 2, line 51). 82 Most humbly do I take my leave Laertes makes no comment at all about the advice his father has given him. Is he being rude? Perhaps he has heard it all before? Is he in a hurry? 89 So please you Ophelia immediately breaks her promise to her brother. But it would have been all but impossible for her not to have answered her father s question. 26

22 Costly thy habit as thy purse can buy, But not expressed in fancy; rich not gaudy; For the apparel oft proclaims the man, And they in France of the best rank and station Are of a most select and generous chief in that. Neither a borrower nor a lender be, For loan oft loses both itself and friend, And borrowing dulls the edge of husbandry. This above all to thine own self be true, And it must follow, as the night the day, Thou canst not then be false to any man. Farewell my blessing season this in thee. Laertes Most humbly do I take my leave, my lord. Polonius The time invites you. Go; your servants tend. Laertes Farewell, Ophelia, and remember well What I have said to you. Ophelia Tis in my memory locked, And you yourself shall keep the key of it. Laertes Farewell. He leaves Polonius What is t, Ophelia, he hath said to you? Ophelia So please you, something touching the Lord. Polonius Marry, well bethought. Tis told me he hath very oft of late Given private time to you, and you yourself Have of your audience been most free and bounteous. If it be so as so tis put on me, And that in way of caution I must tell you You do not understand yourself so clearly As it behoves my daughter and your honour Scene 3 70 habit clothes 71 expressed in fancy elaborate, ostentatious 73 station social standing 74 of chief preeminent (i.e. they have the best taste in clothes) 77 dulls husbandry makes it hard to be thrifty 81 season ripen, bring to fruition 83 tend are waiting for you 89 touching to do with 94 put on impressed on 97 behoves befits The lookout Follow Polonius s words and actions closely through the play, and decide to what extent he keeps the precepts he urged his son to follow. There my blessing with thee What physical gesture does Polonius use to bestow his blessing? A kiss and a hug, a handshake, or what? One director of had Ophelia and Laertes mouthing some of Polonius s advice to each other behind his back, as though they had heard it all before many times. Is this worth considering? 27

23 Scene 3 99 tenders declarations 101 green inexperienced 102 Unsifted untested 106 ta en taken 107 sterling genuine Tender value. Puns on the commercial sense of the word, picking up the reference to pay and sterling. 109 tender fool make me look like a fool 110 importuned eagerly pursued 111 fashion manner. In the next line Polonius uses the word as Laertes did in line countenance credibility 115 springes snares woodcocks foolish birds 116 prodigal lavishly 118 extinct extinguished 121 Be presence don t be so ready to see him What is between you? Give me up the truth. He hath, my lord, of late made many tenders Of his affection to me. Affection, pooh! You speak like a green girl Unsifted in such perilous circumstance. Do you believe his tenders, as you call them? I do not know, my lord, what I should think. Marry, I ll teach you. Think yourself a baby That you have ta en his tenders for true pay, Which are not sterling. Tender yourself more dearly, Or not to crack the wind of the poor phrase, Running it thus you ll tender me a fool. My lord, he hath importuned me with love In honourable fashion Ay, fashion you may call it. Go to, go to. And hath given countenance to his speech, my lord, With all the vows of heaven. Ay, springes to catch woodcocks. I do know When the blood burns how prodigal the soul Lends the tongue vows. These blazes, daughter, Giving more light than heat, extinct in both Even in their promise as it is a-making, You must not take for fire. From this time, daughter, Be somewhat scanter of your maiden presence. Set your entreatments at a higher rate Than a command to parley. For Lord, Ophelia Polonius Ophelia Polonius Ophelia Polonius Ophelia Polonius Words and images 101 Affection, pooh! Is the emotion expressed here dismissive and cutting, or affectionate, if a little patronising? 104 I do not know In the light of her father s attack on her, Ophelia chooses to be cautious in her response, rather than say what she really thinks crack the wind Running it thus The metaphor here is of a horse whose wind or strength is broken by being worked too hard. This often happened to horses used for long-distance journeys. 109 tender Four times Polonius throws this word back at Ophelia (lines 103, 106, 107, 109). Why? In this line, Polonius is more concerned about the damage this might cause to his reputation, than he is about how Ophelia might be hurt or humiliated. 110 My lord, he hath Now Ophelia attempts to argue back. Polonius cuts her off, but she persists. 117, 120 daughter Why not Ophelia? Set parley Like Laertes at lines 34 5, Polonius uses a military image to warn Ophelia of love s dangers. He pictures her as a castle under siege, and advises her not to get into negotiations ( entreatments ) that lead directly to surrender. 132 in plain terms You will find that Polonius very seldom speaks in plain terms. 136 I shall obey, my lord Ophelia has no option: parents, especially among the rich and powerful, had full control over their children s love lives. Ophelia will have little say in who her husband will be. Nevertheless, Polonius s demand to keep away from must have been shattering to her. 28

24 Believe so much in him, that he is young, And with a larger tether may he walk Than may be given you. In few, Ophelia, Do not believe his vows, for they are brokers, Not of the dye which their investments show, But mere implorators of unholy suits, Breathing like sanctified and pious bawds The better to beguile. This is for all I would not, in plain terms, from this time forth Have you so slander any moment leisure As to give words or talk with the Lord. Look to t, I charge you. Come your ways. Ophelia I shall obey, my lord. They go off SCENE 4 Enter,, and Marcellus The air bites shrewdly, it is very cold. It is a nipping and an eager air. What hour now? I think it lacks of twelve. No, it is struck. Indeed? I heard it not. Then it draws near the season Wherein the spirit held his wont to walk. Marcellus 130 Scene brokers dealers. Polonius sees s words as being like persuasive salesmen, or pimps. 128 investments robes 129 implorators pleaders unholy suits love talk designed to seduce 130 Breathing whispering bawds pimps 131 This all in short, to sum up 133 slander misuse 135 charge order 1 shrewdly sharply 2 eager biting 4 lacks of isn t quite 6 season time 7 held wont has been accustomed Character file POLONIUS Polonius is not, at first, an easy character to understand. He seems concerned about the wellbeing of his son, and even though his advice is a little tedious and pompous, he appears affectionate. And yet to his daughter he seems short to the point of rudeness; he insists she reveals even intimate moments of her life; and he is dismissive of her and of her opinions: you speak like a green girl ; think yourself a baby. Is he just an insensitive, out-oftouch father, who loves his son more than his daughter? The relationship between Polonius and his daughter is an important bit of staging. One director made Polonius very physical: he kept pushing and shoving his daughter round the stage, even grabbing her and pulling her to him on one occasion, while Ophelia cowered and looked frightened from the moment her brother left. Another director had Polonius almost ignore her presence: he seldom looked at her when talking, and he appeared to ignore what she said. Ophelia looked angry some of the time, and kept trying to catch her father s attention. How accurate are these interpretations? Which might work better? See page 52 29

25 Scene 4 9 wake stay up 9 10 takes wassail is drinking the night away 10 the reels wild drunken dancing 11 Rhenish wine (from the Rhine region) 13 The pledge see Act 1, Scene 2, lines to born used to seeing it all my life 18 More honoured observance better ignored than practised 20 ministers of grace heavenly powers 21 health goodness goblin demon, devil 24 questionable shape form that invites me to question you 28 canonized consecrated (in Christian burial) hearsèd coffined 29 cerements graveclothes 30 inurned buried A flourish of trumpets, and two cannon shots are heard What does this mean, my lord? The King doth wake tonight and takes his rouse, Keeps wassail, and the swaggering upspring reels, And as he drains his draughts of Rhenish down The kettle-drum and trumpet thus bray out The triumph of his pledge. Is it a custom? Ay, marry is t, And to my mind, though I am native here And to the manner born, it is a custom More honoured in the breach than the observance. Enter the Ghost Look, my lord, it comes. Angels and ministers of grace defend us! Be thou a spirit of health or goblin damned, Bring with thee airs from heaven or blasts from hell, Be thy intents wicked or charitable, Thou com st in such a questionable shape That I will speak to thee. I ll call thee, King, father, royal Dane. O answer me! Let me not burst in ignorance, but tell Why thy canonized bones, hearsèd in death, Have burst their cerements, why the sepulchre Wherein we saw thee quietly inurned Words and images 9 13 The King doth wake his pledge s contempt for Claudius shown in words like swaggering, drains his draught, and even with the word bray is made clear again Be thou a spirit or charitable While speaks to the Ghost in reverent language, he nevertheless hedges his bets: he is not sure yet whether the Ghost is indeed his father s, or an evil spirit taking on the image of his father 25 I ll call thee but he quickly decides to take the Ghost on trust. 43 But do not go with it Both and Marcellus are not convinced that the Ghost is good, and fear that it will lead to his death. The devil was thought to lead people to suicide, an act that would send their souls to hell. 30

26 Hath opened his ponderous and marble jaws To cast thee up again. What may this mean, That thou, dead corpse, again in complete steel, Revisits thus the glimpses of the moon, Making night hideous, and we fools of nature So horridly to shake our disposition With thoughts beyond the reaches of our souls? Say, why is this? Wherefore? What should we do? The Ghost beckons It beckons you to go away with it, As if it some impartment did desire To you alone. Look with what courteous action It wafts you to a more removèd ground. But do not go with it. No, by no means. It will not speak. Then will I follow it. Do not, my lord! Why, what should be the fear? I do not set my life at a pin s fee, And for my soul, what can it do to that, Being a thing immortal as itself? Marcellus (to ) (to ) The Ghost beckons It waves me forth again. I ll follow it. What if it tempt you toward the flood, my lord, Scene 4 31 ponderous heavy 33 complete steel full armour 34 glimpses pale gleams 35 6 we disposition to get ordinary creatures like us so violently worked up 40 impartment communication 42 wafts beckons 46 set value fee worth 47 for as for 50 flood sea Tools of the trade Stagecraft The scene opens with the characters describing the weather and the time of night. Since the audience had no way of knowing these things, Shakespeare often has his characters paint the scene with their words. In a scene already taut with tension, the sudden flourish of trumpets is likely to make the audience jump. The noise and the following discussion also turn their attention away from the Ghost for a while, thus making its appearance a surprise. 31