Shakespeare's "Hamlet" & "Othello"
.HAMLET
"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."
- William Shakespeare, Hamlet, 1.3
"All that lives must die,
Passing through nature to eternity."
- William Shakespeare, Hamlet, 1.2
"The time is out of joint: O cursed spite,
That ever I was born to set it right!"
- William Shakespeare, Hamlet, 1.5
"Brevity is the soul of wit."
- William Shakespeare, Hamlet, 2.2
Samuel Taylor Coleridge's famous essay on Shakespeare:
http://absoluteshakespeare.com/guides/hamlet/essay/hamlet_essay.htm
Problems/Issues/Questions to Ponder:
Hamlet's Ghost: The plot of "Hamlet" does not originate with Shakespeare, and earlier versions of the story do not include a ghost; instead, Hamlet's uncle openly kills his brother, Hamlet's father, not by secret poisoning, but in the open at a banquet. However, Shakespare did not invent the ghost. It is found in a lost "Hamlet", thought to have been written by a playwright contemporary to Shakespeare; his name is Thomas Kyd. Kyd is best known for another tragedy entitled "The Spanish Tragedy". His version of "Hamlet' is mentioned only once in the papers of Philip Henslowe (a theatrical producer) as having been staged in 1594. The only other commment about the play was made in 1596 by Thomas Lodge, who writes of a devil who looked "as pale as the vizard of a ghost, which cried so miserably at the theater, like an oyster-wife, "Hamlet, Revenge". This quote tells us all we know about the content of the lost "Hamlet", commonly referred to as the "Ur-Hamlet". It did include a ghost who called for revenge and was performed by The Chamberlin's Men (Shakespeare's Company) at "The Theatre".
Ghosts came to be associated with tragedy, espcially revenge tragedy, in late 16th century drama, primarly through the drama of the Roman writer Seneca, whose work was first translated into English in 1559. A few years before Shakespeare began his theatrical career, in 1581, the collected tranlations of Seneca were compiled into a volume, making them accessible. Senecan tragedy was characterized by "passionate utterances" (about the pain of living or defiances of fate), deeds of horror, and vengeful ghosts. Questions arise about the nature of Shakespeare's ghost: Is it a figment of Hamelt's imagination? This doesn't stand b/c others can see it. The ghost seems to be part of a Christian world, and so then is either a demon who has taken the form of Hamlet's father to wreak destruction or something else? In Hamlet's words, it is either a "spirit of health" or a "goblin damned"?
Revenge: The ghost sets forth the premise fo the play: for Hamlet to seek revenge for his father's murder. While Elizabethans did condemn revenge-- for instance, Francis Bacon states, "The more man's nature runs to revenge, the more ought law to weed it out"-- the idea wasn't so black and white. The response by the audience to revenge depended on the context. Bacon went on to say, "Public revenges are for the most part fortunate, but in private revenges, it is not so". The question becomes "turn the other cheek" or "an eye for an eye"? And, the latter seemed to hold much appeal then and was much accepted in popular culture. Consider the ancient proverb, "revenge is sweet"; Elizabethans did tolerate revenge under certain circumstances, specifically in cases wehre one may harm the rightful monarch, the victim is obliged to "take the utmost revenge". So, we might conclude that Hamlet has an OBLIGATION to kill his fathers' murderer.
Procrastination: Why does Hamlet wait to take revenge? Some have suggested it is b/c of his moral code. Others say that it is b/c the justness of the avenger is in doubt. Others say that it is b/c revenge in this case can't be satisfactory due to his mother's infidelity, which can't be altered. So, does Hamlet's quest for revenge deserve our sympathy?
In revenge tragedy, the hero does not initiate the action and does not begin in a situation of power; he is caught up in a situation not at all of his own making. The avenger, esp. in Senecan Revenge Tragedy, begins at a disadvantage and is forced to engage in intrigue. He is forced into monstrous deeds. Many times in Elizabethan drama, those avengers forced into this become deeply tainted (usually representative of the blood bath caused by the revenge) unless we absolve them on the grounds that the injuries they have suffered have driven them to insanity.
In Shakespeare's play, we get the idea of a new avenger: a man who has been horribly wronged and who succeeds in avenging the wrong without himself becoming deeply corrupted. In the earliest extant versions of the story, delay is NOT a problem. The plot simply goes like this: The Danish monarch is killed by his brother, who marries the queen; the son feigns insanity so that while contriving revenge, he will be ignored as a harmless idiot. He is, however, suspected and tested; he evades the tests, is shipped off to England with a death warrant, alters the letters, and returns to avenge his father. The events cover several years but not b/c of delay, only a sense of plotting and counter-plotting. The question in Shakespeare's version though remains: Why did Hamelt not obey the ghost at once and so save seven of these eight lives? B.c the whole story can then turn upon the peculiar character of the hero!
Other questions to contemplate: Is Hamlet insane or feigning insanity? Waht are his true feelings toward Gertrude? What is the truth of his relationship with Ophelia? Is his love sincere? Why is he so hesitant to act? Why must he first discover himself?
Character Analysis & Plot Summary: Hamlet, Prince of Denmark
Hamlet is introspective and melancholy. He is the son of the late King Hamlet and is devoted (somewhat obsessively) to his mother, Queen Gertrude. He is psychologically complex, which plays out through the revenge fo his uncle (and new step-father) King Claudius, who Hamlet learns through a ghost, has murdered his father. Hamlet delays carrying out his revenge b/c it isn't enough to slay Claudius, he must also damn his soul. Hamlet's relationships with women are also complex. There are hints of an oedipal relationship with his mother, and he is inconsistent in his declarations to his "former love" Ophelia, partly due to his extreme aversions to sex, which are brought on by his mother's remarriage. Ophelia is driven to insanity and death after learning that Hamlet has, in a rage, accidentally murdered her father Polonius, who is hiding behind a curtain in his mother's quarters when he goes to speak to her. Hamlet later regrets killing Polonius. His character is regarded as one of the greatest in literature and has been performed countless times (at least 25 film versions of "Hamlet" exist). He is grief-stricken, and journeys toward progress of his own salvation and his recognition of his own capacity for evil.
Laertes is Hamlet's "foil". He is initially Hamlet's friend, until he learns that Hamlet has killed his father, Polonius, and thus driven his sister, Ophelia, to madness and death. He too begins to seek revenge for his father's death, but in the final death scene, he and Hamlet exchange forgiveness.
Rosencrantz and Guildenstern are minor characters in Hamlet. They are Hamlet's friends from Wittenberg University who become duped by King Claudius and aer sent to their doom by Hamlet.
Prominent Theme: The inevitable change of vengeance that results from offense and revenge. Hamlet explores the notion that "re" venge must "re" enact the original offense. Shakespeare employs the convention of the "play within a play" as a means of explanation and justification for the acts of revenge that occur. The end result is mass death.
Hamlet is a son struggling to uncover the truth behind his father's death, and when that truth is revealed, Hamlet, "the son of a dear father murdered" (2.2.595) is "prompted to [his] revenge by heaven and hell" (2.2.596). It is his "cursed spite, / that ever [he] was born to set it right" (1.5.188-189). It is the ghost fo the victim, his father, who indicates a desire to be avenged. The idea of revenge is first presented by the dead King, who declares to his son, "so art thou to revenge, when thou shalt hear" (1.5.8).
*pages 2-4 about "Murder of Gonzago"
Revenge is presented in the play as an infectious entity, and no one, not even Hamlet, can escape the death that it brings. Shakespeare lived in a society that supported the notion that all avengers must be avenged, and this logic produced a domino effect in which one death leads to another, and that one to another. The result of this is a loss of human control to the power of revenge. IN the play, the original context of revenge is misplaced, and mass death results. There seems to be nowhere for the avengers to hide; they are all destined to meet their deaths. The convention of the "play within the play" brings an element of reality to each of the works. The audience watching the play is enabled to view the characters in a different light; they are able to relate to them as spectators, who like themselves, are watching a show [rather than that they are the show]. Therefore, the connections that the audience makes with the characters become that much stronger, and the acts and results of the revenge become that much more poignant. Because of the reenactments of the offenses warranting revenge, the audience is more prone to consider the acts of revenge "just", rather than merely "savage".
"There is nothing either good or bad but thinking make it so" (2.2.253-254).
SOURCES FOR HAMLET
Hamlet is based on a Norse legend composed by Saxo Grammaticus in Latin around 1200 AD. The sixteen books that comprise Saxo Grammaticus' Gesta Danorum, or History of the Danes, tell of the rise and fall of the great rulers of Denmark, and the tale of Amleth, Saxo's Hamlet, is recounted in books three and four. In Saxo's version, King Rorik of the Danes places his trust in two brothers, Orvendil and Fengi. The brothers are appointed to rule over Jutland, and Orvendil weds the king's beautiful daughter, Geruth. They have a son, Amleth. But Fengi, lusting after Orvendil's new bride and longing to become the sole ruler of Jutland, kills his brother, marries Geruth, and declares himself king over the land. Amleth is desperately afraid, and feigns madness to keep from getting murdered. He plans revenge against his uncle and becomes the new and rightful king of Jutland. Saxo's story was first printed in Paris in 1514, and Francois de Belleforest translated it into French in 1570, as part of his collection of tragic legends, Histoires Tragiques. Saxo's text did not appear in English until 1608, so either Shakespeare was fluent in French or he used another English source based on the French translation. Generally, it is accepted that Shakespeare used the earlier play based on this Norse legend by Thomas Kyd, called the Ur-Hamlet. There is no surviving copy of the Ur-Hamlet and the only information known about the play is that it was performed on the London stage; that it was a tragedy; that there was a character in the play named Hamlet; and a ghost who cried "Hamlet, revenge!"
How to cite this article:
Mabillard, Amanda. An Analysis of Shakespeare's Sources for Hamlet. Shakespeare Online. 2000. (day/month/year you accessed the information) < http://www.shakespeare-online.com/playanalysis/hamletsources.html >.
William Shakespeare Biography
by Maria Kniery and Ruthie Minor
William Shakespeare was born in April of 1564. There is no specific date of birth because at that time the only date of importance was the date of baptism, though infants often were baptized when they were three days old. Shakespeare's baptismal date was April 26, 1564.
Shakespeare was born in the village of Stratford-upon-Avon in Warwickshire. At the time of his birth, the village had a population of 1500 people, and only 200 houses. Shakespeare's father, John Shakespeare, came from a family of yeomen, and he gained many prestigious positions in the community. Shakespeare's mother, Mary Arden, came from an ancient family of landed gentry. The whole family was Anglican. The family's financial situation was well off. Not much information is known about Shakespeare's youth, although undoubtedly he was educated in the local school, where he studied Latin and Greek, among other subjects, during a school day that often lasted from dawn to dusk.
Shakespeare's first exposure to the theater probably occurred when he was young. As a child his father probably took him to see plays when traveling troupes of actors came to town, although that was not often.
Shakespeare was married to Anne Hathaway in 1582, when he was 18; she was 26, eight years his senior. The exact wedding date is uncertain, but the marriage certificate was issued on November 27,1582. Anne was the daughter of a respected yeoman farmer. William and Anne had their first child, Susanna, in May of 1583. This was followed by the birth of twins, Hamnet and Judith, in January of 1585. Most historians believe that Shakespeare was not often around his family in Stratford after that because historical records show him in London during the following years.
The first written reference to Shakespeare's existence in London occurred in 1592, when Shakespeare was in his late twenties. He seems to have been fairly well established in the theatre by that point, since the reference, written by another playwright, hints of jealousy at Shakespeare's success.
With his two patrons, the Earls of South Hampton and Pembrooke, Shakespeare rose quickly in the theater as both an actor and an author. He joined the Lord Chamberlin's Men, an acting company which was protected by the Queen, becoming a shareholder and senior member in 1595. Because of his success in London, he was able to purchase New Place, the largest and most elegant house in his home town of Stratford, when he was in his early thirties (1597).
In addition to his popularity as both an actor and playwright, Shakespeare became joint owner of the famous Globe theater when it opened in 1599. His share of the company's management added heavily to his wealth.
Shakespeare's financial success in the London theatre enabled him to retire and return to his home in Stratford around 1610. He lived there comfortably until his death on April 23, 1616 (it is popularly believed that he died on his birthday). He is buried in Holy Trinity Church in Stratford-upon-Avon.
Though Shakespeare is most closely associated with the Elizabethan period, his career can be categorized as both Elizabethan and Jacobean, as several works were completed after James I became king in 1603.
Hamlet Characters guide studies each character's role and motivation in this play. [from Absolute Shakespeare]
Hamlet: Son of the late King Hamlet of Denmark and nephew to the present King. Famous for the graveyard scene where holding the skull of deceased jester Yorick, Hamlet realizes man has little lasting control over his fate and also for describing man as the "paragon of animals!" Educated in Wittenburg and introduced to us in Act I, Scene II, Hamlet resents his mother Queen Gertrude marrying King Claudius within two months of his father King Hamlet's death to which she was previously married.
Distrustful of King Claudius, Hamlet is equally weary of the King's spies, Guildenstern and Rosencrantz who attempt to know his true intentions. When Hamlet meets King Hamlet's Ghost and learns that King Claudius murdered his father, Hamlet changes from a distrustful, disillusioned young man to one driven to avenge his father's death. To this end, Hamlet distrusts and rejects all those around him whom he believes are spying on him for King Claudius.
Fearing that his intentions could be revealed, Hamlet invents a madness to distract and hide his true intentions from King Claudius' many spies. This includes Ophelia, the women he loves whom he bitterly rejects when he learns she has betrayed him.
Cunning and inventive, Hamlet changes the lines of a play performed before King Claudius to divine whether King Hamlet's Ghost told him the truth about his father's death. At the end of the play, Hamlet kills both Rosencrantz and Guildenstern (indirectly), Laertes and finally King Claudius before dying himself from a wound inflicted by Laertes.
Horatio: Friend to Hamlet and the one person Hamlet truly trusts. Witnesses King Hamlet's Ghost in Act I. At the end of the play, Horatio wishes to commit suicide to join Hamlet in death but Hamlet convinces him to live so he can tell his story, restoring Hamlet's name.
Claudius: The present King of Denmark, King Claudius took Queen Gertrude whom he loves as his queen and wife, much to the consternation of Hamlet who believes his mother has betrayed him and his father's memory by doing so. Cautious and suspicious, Claudius has courtiers Rosencrantz and Guildenstern and Hamlet's love interest Ophelia spying on Hamlet for him since as he says, the great ones must be watched. Distrustful of Hamlet and his "madness", King Claudius has Hamlet deported to England to be killed when he fears he has become a threat.
Instead, Hamlet returns to Denmark, and King Claudius manipulates Laertes into killing Hamlet for him. Unfortunately, King Claudius' plan to poison Hamlet backfires, killing his beloved Queen Gertrude instead. In Act III, Scene III, King Claudius reveals his inner guilt and the knowledge that he cannot avoid God's judgment of him... Dies at the end of the play to the poison tipped sword of Hamlet.
Gertrude: Queen of Denmark and mother to Hamlet, Queen Gertrude is resented deeply by Hamlet for marrying King Claudius within two months of his father, King Hamlet's death. Hamlet makes this bitterly clear throughout the play especially in his first soliloquy in Act I, Scene II. Queen Gertrude loves her son but when she sees a play mocking her actions, she famously says of the female character who vows never to forget her husband, "The lady doth [does] protest too much, methinks [I think]", (Act III, Scene II, Line 242) in an attempt to justify her own actions in remarrying so quickly. Clearly loving of Hamlet, she realizes her wrong when Hamlet scolds her mercilessly in Act III, Scene V. She agrees to no longer share King Claudius' bed, and aids her son by hiding Hamlet's true mental state from King Claudius. Dies in Act V, Scene II, to a poisoned cup of wine meant for Hamlet.
Polonius: Lord Chamberlain. The father of Laertes and Ophelia, Lord Chamberlain Polonius dutifully serves King Claudius. When news of Hamlet's madness circulate, Polonius is certain that his daughter Ophelia is responsible, having made Hamlet lovesick. Worried that Hamlet's intentions for his daughter are dishonorable, Polonius orders Ophelia to keep her distance. Later when King Claudius needs information, Polonius uses his daughter to spy on Hamlet. He even has Reynaldo, a servant spy on his own son Laertes in Paris. An enthusiastic spy for King Claudius, Polonius is killed by Hamlet when he attempts to listen in on a conversation between Hamlet and Queen Gertrude in Act III, Scene IV. His death leads to Ophelia's madness and later drowning brought on by grief and also to Laertes' alliance with King Claudius to kill Hamlet, to avenge Polonius, his father's death.
Reynaldo: Servant to Polonius,Reynaldo is instructed to spy on his Laertes in Paris in Act II, Scene I.
Laertes: Polonius' son, Laertes is held in high esteem for his fencing skills. Famous for the advise, "to thine own self be true," (be true to yourself) and the advise to "Neither a borrower, nor a lender be;" in Act I, Scene III. Laertes' role in this play is minor until the death of his father Polonius. From this point on, Laertes emerges as rather more assertive, confronting King Claudius personally to know his father's whereabouts, arguing with a Priest for being disrespectful to his sister, fighting Hamlet above his sister's grave and ultimately conspiring to and killing Hamlet with the help of King Claudius. We see little of Laertes' inner character however since he responds to events continuously. Loving of his sister Ophelia, he must watch his sister's cruel decay into madness helplessly following his father's death. Dies in Act V, Scene II, the victim of a wound inflicted upon him by Hamlet with his own poison tipped sword.
Ophelia: The daughter to Polonius, Ophelia is loved by Hamlet. Unfortunately as Queen Gertrude laments at Ophelia's funeral, Ophelia never marries Hamlet. Dutiful to her father, she ignores Hamlet's romantic overtures when instructed to ignore them by her father Polonius. Receives advice on how to live from brother Laertes in Act I, Scene III. Though loved by Hamlet, Ophelia ultimately betrays him by spying on him for King Claudius. As a result Hamlet mercilessly insults her virtue during the play "The Murder of Gonzago" in Act III, Scene II. A dutiful daughter, Ophelia descends into madness from the grief of losing her father Polonius and later drowns in circumstances that suggest a possible suicide. Her funeral is the location of a fight between Hamlet and Laertes that centers on which loved her more; Hamlet believes he did, resenting Laertes exaggerated emphasis of his sorrow...
Fortinbras: Prince of Norway. The son of King Fortinbras, who was defeated by King Hamlet, Young Fortinbras has raised an army to reclaim the lands lost by his father to King Hamlet and Denmark. Convinced into attacking the Polish instead, Young Fortinbras displays all the noble, honor driven qualities, Hamlet wishes he had. At the end of the play, Young Fortinbras is recommended by Hamlet to be the next King of Denmark. Parallels Hamlet's character in that like Hamlet his father was a ruler (King of Norway) and that both are now nephews to the current rulers of their lands..
Rosencrantz, Guildenstern: Courtiers to King Claudius, both these men grew up with Hamlet. As a result King Claudius recruits them to spy on Hamlet for him. Neither man has a problem trading in their friendship to betray Hamlet; they serve the King. Both die when the instructions they bear from King Claudius are altered by Hamlet to instruct King Claudius' English associates to kill those bearing his commission immediately (Rosencrantz and Guildenstern).
Voltimand, Cornelius, Osric and a Gentleman: Courtiers.
A Priest: Introduces at Ophelia's funeral, the Priest insults Laertes by expressing his personal opinion that Ophelia does not deserve a proper Christian burial for ending her life by suicide, which was considered a sin unworthy of proper burial.
Marcellus and Bernardo: Officers who initially spot King Hamlet's Ghost in Act I, Scene I.
Francisco: A soldier. Famous for the lines "'tis [it is] bitter cold, / And I am sick at heart" which sets the tone of this tragedy.
A Captain, English Ambassadors, Players, Two Clowns (Gravediggers), Lords, Ladies, Officers, Soldiers, Sailors, Messengers, and Attendants.
Plot Summary: http://absoluteshakespeare.com/guides/hamlet/summary/hamlet_summary.htm
Othello
Characters:
Othello is the title character in the play and the protagonist. He is a rare instance in the literature of this time of a "black" character. He is mature in his years and a general in the Venetian army. He knows little of life outside of his military career, nothing of women, and is an alienated outsider in the sophisticated city of Venice. He is a noble figure who claims to be of royal blood. He is initially a devout Christian, yet when he becomes jealous of his wife, he reverts to paganism in his speeches and attitudes. This serves to emphasize his incomplete integration into Venetian society. He is a soldier whose skills have put him in a position of command of an alien society.
Only Iago, Othello's mortal enemy, and Brabantio, his new father-in-law, express any color prejudice toward Othello. He is referred to as a Moor (person of Arab decent living in NW Africa). Shakespeare's depiction of a black man as a tragic hero has been called unusual and courageous; in earlier plays, Moors are considered evil and are associated with death. Only 2 other Shakespeare plays depict dark-skinned characters: "Titus Andronicus" & "The Merchant of Venice".
Iago often refers to Othello as "noble"... he can be called the "noble savage", who is destroyed by his corrupting connection with white man's society. The play is a DOMESTIC TRAGEDY, whose violent climax hinges on the hero's TRAGIC FLAW: Jealousy. The depth of passion he has for his wife is also a flaw. His sense of loss and acceptance of damnation for his act is considered "brave and absolute".
IAGO: He is one of Shakespeare's greatest creations! The role of Iago has perplexed actors for ages due to his "motiveless malignity"-- his actions defy any present motivation. Iago has the prominent role in the play and is on stage in almost every scene. He gloats about his treachery to the point that we must laugh when we hear him called "Honest Iago". His relentless hostility and delight in evil makes him a stock Machiavel (remember him?) character. [Machiavellean refers to the political doctrine of Machiavelli, which holds that craft and deceit are justified when pursuing or trying to maintain political power.]
The only possible explanation we are given for Iago's evil is that he has been passed over for promotion by his commander, Othello. He later makes up a story that Othello has been aldultrous with Iago's wife, Emilia, but this is denied and never proven. Iago is also clearly jealous of Othello and Cassio. Sometimes Iago is portrayed as having homosexual desire for Othello, but this is difficult proved based on only the text itself.
Another possible reading is that Iago can be viewed as evil itself-- a devil character- or a Medieval VICE FIGURE. It can be read thena s a struggle between good and evil, for the soul of a man. Whatever the reason, Iago is a classic villain!
DESDEMONA: Is the leading female character in the play. Her decision to marry Othello, the black Moor, is considered courageous and radical. However, it is this loving act that bears the seeds of her destruction. Othello feels insecure in her love for him, which leads him into rash suspicion of her virtue and makes him the easy dupe of the villain, Iago. Ultimately, Othello kills his new bride, who he loves. Desdemona is a girl of intelligence and imagination and scholars study her as an example of "young womanhood".
EMILIA: Is the wife of Iago. She is duped by him and unknowingly aids him in his plan by giving him Desdemona's handkerchief. She is also the confidante and friend of Desdemona. She opposes Othello's rash jealousy and once aware of Iago's deeds, she denounces him -- but he stabs her.
CASSIO: He is an officer serving under Othello who is wrongfully implicated with Othello's new wife. He is also seen as gullible.
Roderigo: Rejected suitor of Desdemona. He is a gullible "dupe", Iago's pawn. He tells Brabantio about his daughter's marriage.
BRABANTIO: Is Desdemona's father. He is outraged at her radical, secret elopement with "the Moor". His outrage is central to the plot. He is a senator of Venice and has a radical prejudice toward Othello.
* "Othello" is a play that intersects with modern issues such as racism, gender roles, spousal abuse, the psychology of evil, etc. These issues are interwoven in the play and are among issues that affect our world today. It presents a vision of human nature depicting fear of the unknown, pride, greed, and lust, which underlies smooth, civilized surfaces of the noble, well-mannered, and gentile.
* Iago is diabolical and seeks destruction of everything outside of himself. Othello is at first a master of self, control; he is calm and well-mannered. However, his roots are of the wild savage, and thus he is not above believing his wife to be a whore, killing her, then revenging himself! Desdemona is honest; she is what she is supposed to be but is accused of putting on an act. Her honesty actually makes her suspect because she lives in a world where men aren't all they appear to be.
* "Othello" is a neatly, formerly constructed play. Each character is balanced by another similar but opposite character: Desdemona's Love & Iago's Hate, for example. There are many parallels in the play, and they all lead to the same end. The play moves from Venice to Cyprus, the city to the outpost, organized society to raw nature, collective to solitary life. There's usually a return back to the city in the end.
* Beyond geographical symbols, there are social symbols as well. There's order and riot, justice and revenge, truth and falsehood, etc. Of the 3 major characters, Desdemona and Iago do NOT change their attitudes toward life-- they are the antithesis to one another and are polar opposites. Othello is a combination of them-- the forces of love and hate (both pure in their representation by these characters). Othello's voyage from Venice to Cyprus is psychological in that it is a passage of the soul and will from the values of Desdemona to those of Iago. The murder of Desdemona acts out the final destruction in Othello of the powers of love, trust, and human bond.
Discussion Questions:
1. In what ways are Othello and Desdemona similar to Romeo and Juliet? In what ways are they dissimilar?
2. Do you believe Iago despises Othello because Othello is black? Would you marry a person of opposite color? Explain your answer.
3. If Othello was such a great general, a man who could read the mind of his enemy, why was he so easily deceived by Iago?
4. Is Othello a villain? Explain.
5. Many of us tend to root for villains--bank robbers on the lam, prison inmates after an escape, mad scientists coaxing a monster to life, and miscreants like Iago. Why do we root for villains? Do you root for Iago? Explain.
Article on sterotyping and racism in Shakespeare's works: http://www.articlemyriad.com/192.htm
"Hamlet": THE TRIAL
Hamlet's Trial Annotated Bibliography: You will compile a 4 entry Annotated Bibliography using academic articles written about "Hamlet" that pertain to YOUR part of the trial. You want to focus on finding articles that are relevant to your portion of the trial that you can use in your prosecution/defense. Turning this in is mandatory. Each article will be found using THE LIBRARY databases. You will present the bibliography in appropriate MLA format (just like the first one you did).
This will be for 40 points.
The trial itself is a group grade, and it is worth 50 points. Each person in the group must speak at the trial.
The additional 10 points will be a peer evaluation. Your group members will decide what score you earned based on your availablity to work on the project, your contributions to the project, enthusiasm, work ethic, etc.
During your presentation at the trial, you must rely most heavily on quotes from the TEXT as evidence for your case. You may also use quotes from your academic articles to BACK UP a point you are making.
Format: Prosectution, opening remarks. Defense, opening remarks. (These are prepared in advance). Prosecution, case point proof. Defense, case point proof. Prosecution rebuttal. Defense rebuttal. (The rebuttals will be "off the cuff", as you must respond to and discredit the information the opponent presents. This will require you to "guess" what they will say in advance and prepare a defense; however, you may prepare to get thrown a curve ball and have to effectively respond to something you weren't prepared for.) Then, prosecution closing remarks. Defense, closing remarks. Each trial will be 40 minutes long-- 5 minutes per side, per section. Make sure you fill your 5 minutes.
All in all, the trial is 100 points of your grade.
Hamlet’s Trial: the Assignment
[Groups will be chosen by the "head lawyers"; they will have to build their teams]
Group 1: The state of Denmark vs. Hamlet for the murder of Polonius.
You are the prosecution for this criminal trial. Your job is to prove that Hamlet is guilty of murdering Polonius. You must first do some research and decide exactly what you want to charge Hamlet with in this trial (i.e. degree of murder), and you must present your charges to the defense in advance. You must use textual evidence (quotes—facts from the play and only from the play itself) to prove Hamlet’s guilt. Remember that the defense will be arguing not guilty by reason of insanity, so you will have to prove Hamlet’s sanity, as well as his actions. You can use witness statements to prove your case; anything that one character says to another character is plausible. However, you may not use anything said in an “aside” as evidence because there are no other people around to verify those statements, and the defense will likely dismiss this as just “hearsay”. You must try to anticipate what arguments the defense will use so that you are prepared to counter them. Each person in your group must prepare some of the research and speak at the trial. Timeline:
M 19 Apr: Annotated Bibliography Due; Final Trial Preparations
W 21 Apr: Hamle'ts Trial Part 1 (Groups 1 & 2)
F 23 Apr: Hamlet's Trial Part 2 (Groups 3 & 4)
Hamlet’s Trial: the Assignment
Group 2: The state of Denmark vs. Hamlet for the murder of Polonius.
You are the defense for this criminal trial. Your job is to prove that Hamlet is not guilty of murdering Polonius (the prosecution will tell you in advance what degree of murder they are charging Hamlet with). You should use the “not guilty by reason of insanity” plea because it is not disputed that he indeed did murder Polonius. You must use textual evidence (quotes from the play and only the play) to prove Hamlet’s innocence. You may use witness testimonies, but you may not use anything said it an “aside” because there is nobody present to verify those statements as plausible. You will want to anticipate what the prosecution will use as their evidence so that you can effectively counter it. Each person in your group must prepare some of the research and speak at the trial.
M 19 Apr: Annotated Bibliography Due; Final Trial Preparations
W 21 Apr: Hamle'ts Trial Part 1 (Groups 1 & 2)
F 23 Apr: Hamlet's Trial Part 2 (groups 3 & 4)
Hamlet’s Trial: the Assignment
Group 3: Hamlet vs. the family of Ophelia in the civil trial for her death.
You are the prosecution for this civil trial, which seeks to establish blame for Ophelia’s death. While Hamlet clearly didn’t physically murder Ophelia, your case is that he is still to blame for her death. You will seek to show Hamlet’s manipulation of Ophelia, establish emotional harm, and link this to Ophelia’s suicide (which you will also have to prove). Look closely at the text to examine the progression of events leading up to her death, as well as the circumstantial evidence of her death. You might also be ready to eliminate the possibility that the defense will use the “insanity” defense. Your proof must come from the text and only the text—you must use quotes from the play to establish your case. You may use witness statements, but you may not use anything said in an “aside” because there is nobody present to verify those statements as plausible. You must ask for damages (which you will decide upon). You should try to anticipate the defense’s case so that you can refute their points. Each person in your group must prepare some of the research and speak at the trial.
M 19 Apr: Annotated Bibliography Due; Final Trial Preparations
W 21 Apr: Hamle'ts Trial Part 1 (Groups 1 & 2)
F 23 Apr: Hamlet's Trial Part 2 (Groups 3 & 4)
Hamlet’s Trial: the Assignment
Group 4: Hamlet vs. the family of Ophelia in the civil trial for her death.
You are the defense for this civil trial, which seeks to establish blame for Ophelia’s death. While Hamlet clearly didn’t physically murder Ophelia, the prosecution is arguing that he is still to blame for her death. You will seek to dispute Hamlet’s manipulation of Ophelia, any emotional harm, and any link between Hamlet’s actions and Ophelia’s apparent suicide (you may want to call this into question—or just accept it; you decide). Look closely at the text to examine the progression of events leading up to her death, as well as the circumstantial evidence of her death. You may wish to use “insanity” as a defense, but beware that the prosecution may be ready to dispute that. Your proof must come from the text and only the text—you must use quotes from the play to establish your case. You may use witness statements, but you may not use anything said in an “aside” because there is nobody present to verify those statements as plausible. You should try to anticipate the prosecution’s case so that you can refute their points. Each person in your group must prepare some of the research and speak at the trial.
M 19 Apr: Annotated Bibliography Due; Final Trial Preparations
W 21 Apr: Hamle'ts Trial Part 1 (groups 1 & 2)
F 23 Apr: Hamlet's Trial Part 2 (groups 3 & 4)
[You must turn in all of your trial notes, and I do need to see CITATIONS for where your information comes from within the text. Please cite lines as (Act #. Scene #. Line #). ]
