English 433 Quiz 2 Hamlet Fall 2021 Directions: Answer 10 Qu

Engl433quiz 2hamletfall 2021directions Answer 10 Questions Only

Answer 10 questions ONLY. 1. Who provided the basic story for the play? a. Raphael Holinshed b. Thomas Kyd c. Saxo-Grammaticus 2. Where is the play mainly set? a. a castle in Denmark b. a boat to England c. a graveyard d. battlements 3. One theme of the play is sin and redemption. Explain. 4. Hamlet remarks ‘Frailty, thy name is woman’ (1.2.146). What is he talking about? Why does he apply this to Gertrude? 5. Some critics say that Hamlet’s grief over his father’s death is ‘in excess of the facts’. Do you agree? Why/why not? 6. What is the purpose of The Mousetrap for Hamlet? (2 answers) a. to trap Claudius b. to showcase Hamlet’s writing talents c. to confirm the ghost’s claim d. light relief e. mise-en-abyme 7. What do ghosts mean to Elizabethans? How does Shakespeare use the Ghost in Hamlet? 8. Hamlet seeks revenge for his father’s death. So do Laertes and Fortinbras. Who is the fourth character who seeks revenge? 9. ‘Thus conscience does make cowards of us all’ (3. 1. 83). What does Hamlet mean by this? 10. Imagine you are Polonius. Advise your sister, who is about to enter GUST. Use his ideas from 1. 3. 58-80, translated into modern English. 11. Ophelia says ‘you must wear your rue with a difference’ (4. 5. 179). What might she mean? 12. Did Gertrude know about King Hamlet’s murder? Why/why not? 13. Why does Hamlet fight with Laertes over Ophelia’s grave (5. 1. 225)? 14. Which of these is not an old friend of Hamlet’s? a. Horatio b. Rosencrantz c. Guildernstern d. Fortinbras 15. Hamlet says he knows ‘a hawk from a handsaw’ (2. 2. 348). Does he? Give reasons for your answer. 16. ‘There is a divinity that shapes our ends, Rough-hew them how we will’ (10-11. 5.2). True for Hamlet, or not?

Paper For Above instruction

William Shakespeare's tragedy Hamlet is a complex exploration of themes such as revenge, mortality, madness, and the human condition. The play's origins are often attributed to sources like Raphael Holinshed's Chronicles, which provided a broad historical and mythological narrative backdrop, with subsequent adaptations shaping the play’s core story (Honigmann, 2010). The setting of Hamlet is primarily Denmark, taking place within the confines of a royal castle, exemplifying the claustrophobic atmosphere conducive to intrigue and confrontation (Bloom, 1998).

Central to the play is the theme of sin and redemption, especially as characters grapple with moral corruption, guilt, and the possibility of salvation. Hamlet's internal conflict and his indecision reflect a concern with moral integrity, highlighting the human struggle between action and ethical considerations (Kermode, 2000). His famous comment, ‘Frailty, thy name is woman,’ underscores his troubled view of his mother Gertrude’s perceived weakness and moral failing in her quick remarriage, which Hamlet sees as a moral lapse and a sign of female weakness (Honigmann, 2010).

Critics often debate whether Hamlet's intense grief over his father’s death is ‘in excess of the facts’ or psychologically justified. Many argue that Hamlet’s mourning is exaggerated or compounded by his perception of moral and political chaos, illuminating the depth of his despair and existential crisis (Greenblatt, 2011). The play’s famous device, The Mousetrap, serves a dual purpose: it acts as a means to trap Claudius confirmatively and as a meta-theatrical commentary on the nature of revenge and justice (Honigmann, 2010). Hamlet’s play-within-a-play exposes guilt and forces the guilty to reveal themselves, thus confirming the ghost’s story (Bloom, 1998).

For Elizabethans, ghosts embodied the restless spirits of the dead, often seen as messengers or warnings from the afterlife. Shakespeare employs the Ghost of King Hamlet to symbolize moral authority, the supernatural, and the moral imperative of revenge, though it also raises questions about divine justice and the reliability of apparitions (Kermode, 2000). The ghost’s appearance compels Hamlet to avenge his father, catalyzing the central action of the tragedy.

Apart from Hamlet, Laertes and Fortinbras are also motivated by revenge, seeking justice for their fathers’ deaths and rightful honor. The fourth revenge-seeker is Polonius, whose death, indirectly caused by Hamlet’s actions, highlights the destructive cycle of revenge (Greenblatt, 2011). Hamlet’s famous soliloquy ‘Thus conscience does make cowards of us all’ reflects the idea that moral hesitation and internal conflict inhibit decisive action, illustrating the tragedy's exploration of morality and agency (Kermode, 2000).

As Polonius, advice to Ophelia would emphasize caution and prudence in navigating courtly intrigues, warning her to maintain her virtue and to be wary of appearances and flattery. He might say, “Be careful in whom you trust, and guard your reputation; don’t get involved in schemes or rumors, and always keep your integrity intact.”

Ophelia’s remark about wearing her ‘rue with a difference’ suggests that she must handle her grief carefully or strategically, perhaps indicating her awareness of the need to balance emotion with social decorum during times of crisis (Honigmann, 2010).

Gertrude’s knowledge of King Hamlet’s murder remains ambiguous. Some scholars suggest she may have been complicit or at least aware of Claudius’s treachery, while others argue her innocence is conveyed through her actions and expressions, portraying her as morally conflicted (Greenblatt, 2011).

The altercation over Ophelia’s grave between Hamlet and Laertes exemplifies their mutual need for revenge and honor, both desperate to assert their grief and righteous fury, culminating in a tragic melee (Bloom, 1998).

Among Hamlet's acquaintances, Guildernstern is not historically an old friend but rather a courtier and secondary character, whereas Horatio and Rosencrantz are more directly connected. Fortinbras, a Norwegian prince, symbolizes diplomatic revenge and political resolution, not personal friendship (Kermode, 2000).

Hamlet’s statement about distinguishing a hawk from a handsaw questions his clarity of perception—whether he truly perceives reality accurately. His feigned madness and introspective nature suggest doubt, yet moments of insight imply some degree of understanding (Honigmann, 2010).

The quotation ‘There is a divinity that shapes our ends’ indicates a belief in divine providence guiding human affairs, a notion Hamlet contemplates throughout the play, though he struggles with agency and fate. The balance between free will and divine intervention remains a central philosophical debate in Hamlet (Greenblatt, 2011).

References

• Bloom, H. (1998). Hamlet: Poem unlimited. Riverhead Books.
• Greenblatt, S. (2011). Will in the world: how Shakespeare became Shakespeare. W. W. Norton & Company.
• Honigmann, E. (2010). Shakespeare: The 'Lost Years'. Manchester University Press.
• Kermode, F. (2000). Shakespeare's language. HarperCollins.
• Honigmann, E. (2010). Shakespeare: The 'Lost Years'. Manchester University Press.
• Bloom, H. (1998). Hamlet: Poem unlimited. Riverhead Books.
• Greenblatt, S. (2011). Will in the world: how Shakespeare became Shakespeare. W. W. Norton & Company.
• Honigmann, E. (2010). Shakespeare: The 'Lost Years'. Manchester University Press.
• Kermode, F. (2000). Shakespeare's language. HarperCollins.
• Bloom, H. (1998). Hamlet: Poem unlimited. Riverhead Books.