Write your name
Write your motif
Write all the references to your motif that you have found in acts one and two (act.scene.lines)
Copy a passage that includes your motif and that seems to deal with an essential theme of the play
The above is due by the beginning of class on Wednesday, March 19.
Be prepared to discuss your motif in class on Wednesday, the specific references, the context for those references, and the relationship between your motif and the play's themes.
I will use the discussion rubric to evaluate your understanding of the motif on Wednesday.
38 comments:
Alison Randazza
Response to Authority.
1.1.3
1.1.8
1.1.54-56
1.2.40
1.2.52-65
1.2.124
1.3.92-93
1.3.145
1.4.71
1.4.89
2.1.6
2.1.18
2.2.31
2.2.72
2.2.186
2.2.315
“ ‘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
Be somewhat scanter of your maiden presence;
Set your entreatments at a higher rate
Than a command to parley. For Lord Hamlet,
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 that 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 Hamlet.
Look to't, I charge you: come your ways.’
‘I shall obey, my lord.’ ”
Emily Philpott
women,virtue
1.2.144
1.2.150
1.3.19
1.3.35
1.3.39
1.3.106
1.3.130
1.5.60
1.5.112
2.2.333
2.2.348
2.2.449
1.2.150
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!
Ali Orlando
Motif: Words and Language
1.3.41 “May give his saying deed”
1.3.43 “Give thy thoughts no tongue”, “give every man thy ear, but few thy voice”
1.3.45 “you speak like a green girl…”
1.3.47 “and hath given countenance to his speech, my lord, with almost all the holy vows of heaven”, “…the soul lends the tongue vows”, “his vows, they are brokers”
1.3.49 “…as to give him words or talk with Hamlet”
1.5.59 “…even with the vow I made to her in marriage”
2.1.77 “so by my former lecture and advice”
2.2.91 “Took the fruits of my advice”
2.2.95 “words.words.words”
2.2.119 “for murder, though it have no tongue, will speak”, “must, like a whore, unpack my heart with words”
3.1.127 “than is my deed to my most painted word”
3.1.133 “…scholars, eye, tongue, sword”, “that sucked the hockey of his musicked vows”
The second part to Hamlet’s long passage (page 119).
…“(O vengeance!)
Why, what an ass am I! This is most brave,
That I, the son of a dear father murdered,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words
And fall a-cursing like a very drab,
A (scullion!) Fie upon’t! Foh!
About, my brains!-Hum, I have heard
That guilty creatures sitting at a play
Have, by the very cunning of the scene,
Been struck so to the soul that presently
They have proclaimed their malefactions.
For murder, though it have no tongue, will speak
With most miraculous organ. I’ll have these players
Play something like the murder of my father
Before mine uncle. I’ll observe his looks;
I’ll tent him to the quick. If he do blench,
I know my course. The spirit that I have seen
May be a (devil,) and the (devil) hath power
T’ assume a pleasing shape; yea, and perhaps,
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me. I’ll have grounds
More relative than this. The play’s the thing
Wherein I’ll catch the conscience of the King.”
This passage was essential in the play because not only does it include my motif of words and language, or speak of Hamlet’s main ambition and idea of catching the King, but I felt that the line “For murder, though it have no tongue, will speak” gave a deep, abstract and almost foreshadowing feeling for the reader about murder itself in general, but especially this situation and how the King will be caught, no question about it.
Hannah Benson
Men/Manliness
1.2 99
1.2 195
1.3 60-87
1.4 26
1.4 30
1.5 165
2.2 215-218
3.1 150-151
1.2 99
Claudius tells Hamlet that his grieving is unmanly
Michael Hodgkins
Animals
1.2.144
1.2.154
1.3.124
1.5.43-46
1.5.96
2.1.70
2.2.197-98
2.2.221
2.2.190
2.2.331
2.2.479
2.2.403
2.2.585
“Now, Hamlet, hear.
'Tis given out that, sleeping in my orchard,
A serpent stung me. So the whole ear of Denmark
Is by a forgèd process of my death
Rankly abused. But know, thou noble youth,
The serpant that did sting thy father's life
Now wears his crown.”
Lucy Fox
water (&other liquids)
1.1.129
1.1.131 *
1.1.168
1.2.133-4
1.2.153-59,60
1.2.214-15
1.4.11-12
1.5.69-77
2.1.38
1.1.124
Horatio:
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 climature and countrymen.—
Brian Anderson
Ghost/Spirits
1.1.47
1.1.81
1.2.190-220
1.2.260
1.4.46-55
1.5(whole scene is convo w/ ghost)
2.2.603
2.2.613
2.2.628-634
3.1.177
2.2.628-634
Bottom part of the Soliloquy
"I know my course. The spirit that I have seen may be a devil and the devil hath power T' assume a pleasure shape;yeah, and prehaps, out of my weakness and my meloncholy, as he is very potent with such spirits. Abuses me to damn me. Ill have grounds more relative than this. "
2.2.
Meghan Ciaramitaro
Sleep + Dreams
1.5.43
1.5.66
1.5.188
2.2.275-280
2.2.579
2.2.276-279
"Which dreams, indeed, are ambition, for the very substance of the ambitious is merely the shadow of a dream."
"A dream itself is but a shadow"
Nick Barusso
Plants and Fertility/Sterility
Plants:
2.2 154
2.2 217
Fertility/Sterility:
2.2 197
2.2 322
3.1 140
I have heard of your paintings too, well enough; God
has given you one face, and you make yourselves
another: you jig, you amble, and you lisp, and
nick-name God's creatures, and make your wantonness
your ignorance. Go to, I'll no more on't; it hath
made me mad. I say, we will have no more marriages:
those that are married already, all but one, shall
live; the rest shall keep as they are. To a
nunnery, go.
Analise Sanfilippo
Appearance & Truth
1.2.80
2.2.215-222
2.2.268
3.1.56-62
1.2.80
Tis not alone in my inky cloak , good mother, nor customary suits of custom black, nor windy suspiration of forced breath, no, nor the fruitful river in the eye,nor the dejected havior of the visage,togetherwill all forms, moods, shapes of grief, that can denote me truly. These indeed "seem" for they are actions that a man might play.
Ben Moore
Youth and Age
1.1.106
1.1.186
1.3.8
1.3.45
1.3.48
1.3.114
1.3.133
1.5.21
1.5.45
1.5.101
2.1.126-129
2.2.11-12
2.2.149
2.2.213-223
2.2.368
3.1.173-174
2.1.126-129
"By heaven, it is as proper to our age to cast beyond ourselves in our opinions as it is common for the younger sort to lack discretion".
Leah Palazola
honesty/dishonesty
1.5.174-184
2.1.21-30
2.2.190-195
2.2.255-256
2.2.287-289
3.1.113
3.1.116-124
3.1.132-134
2.2.194-195
"Ay, sir. To be honest, as this world goes, is to be one man picked out of then thousand."
food/Appetite
1.2.147-149
“Must I remember? How she would hang on him as if an increase of appetite had grown by what it fed on.”
1.2.197-198
1.4.11
1.5.76
2.2.55
2.2.154
2.2.156
2.2.606
3.1.170
food/Appetite
1.2.147-149
“Must I remember? How she would hang on him as if an increase of appetite had grown by what it fed on.”
1.2.197-198
1.4.11
1.5.76
2.2.55
2.2.154
2.2.156
2.2.606
3.1.170
1.1.185
1.2.149-1.2.157
1.3.37
1.3.141-1.3.144
1.4.76
1.5.93-1.5.95
2.2.1-2.2.26
2.2.593-2.2.616
3.1.96
1.5.93-1.5.95
"Against thy mother aught: leave her to heaven And to those thorns that in her bosom lodge, To prick and sting her. Fare thee well at once!"
my bad i got action and inaction.. add that!
Lucy Morgan
I and Eye (self and seeing)
1.3.84
1.3 (How Hamlet is seen by Polonius, Laertes, and Ophelia)
1.5.53
3.1.56-62
3.1.64
3.1.174
KING [aside] O, 'tis true!
How smart a lash that speech doth give my conscience. The harlot's cheek beautied with plast'ring art
Is not more ugly to the thing that helps it Than is my deed to my most painted word.
O heavy burden!
Kathryn Heassler
Motif: Corruption & Virtue
1.3.132-135
1.3.85-86
1.4.36-39
1.4.100
1.4.9-13
1.4.15-40
1.4.77-82
1.5.49-98
1.5.81-86
Most relating to essential theme of play:
1.3.36-39
"His virtues else, be they as pure as grace,/ As infinite as man may undergo,/ Shall in the general censure take corruption/ From that particular fault." (Hamlet is referring to the nature of man.)
Mercedes Lane
Madness/Sanity
1.2.20
1.4.82
2.1.95
2.2.223
2.2.228-229
"...A happiness that often madness hits on, which reason and sanity could not so prosperously be delivered of."
**I just wanted to clarify my quote.**
Kathryn Heassler
Motif: Corruption & Virtue
1.3.132-135
1.3.85-86
1.4.36-39
1.4.100
1.4.9-13
1.4.15-40
1.4.77-82
1.5.49-98
1.5.81-86
Most relating to essential theme of play:
1.3.36-39
"His virtues else, be they as pure as grace,/ As infinite as man may undergo,/ Shall in the general censure take corruption/ From that particular fault." (Hamlet is referring to the nature of man.)
**
"His virtues else, be they as pure as grace, as infinite as man may undergo, shall in the general censure take corruption from that particular fault."
Mirrors and Likenesses:
1.1.48
1.1.50
1.1.69
1.1.122
1.1.163
1.2.153-158
1.3.52-55*
1.5.22-23
1.2.26
1.2.79
2.2.221-222
2.2.287-289
2.2.327-332
2.2.451-454
2.2.475
2.2.488
2.2.597-596
2.2.614
2.2.624
3.1.64-98
*"Show me the steep and thorny way to heaven,
Whiles,(like) s puffed and reckless libertine,
Himself the primrose pathe of dalliance treads
And recks not his own rede."
Marc Alves
Death and The Afterlife
1.1.48
1.1.127
1.1.150
1.2.19
1.2.119
1.2.208
1.2.74*
1.4.57
2.2.233
3.1.74
3.1.68
3.1.86
*" Seeek for thy noble father in the dust. Thou know'st tis common; all that lives must die, Passing through nature to eternity".
MOTIFS: "Hamlet" at end
Kathryn Heassler
Corruption and Virtue
3.1.44-46
3.2.21-26
3.4.49-59
3.4.92-98
3.4.104-106
3.4.165-170
4.5.97-101
5.1.210-211
5.1.220-224
5.1.240-242
3.2.21-26
"For anything so o'erdone is from the purpose of playing, whose end, both at the first and now, was and is to hold, as 'twere, the mirror of nature, to show virtue her {own} feature, scorn her own image, and the very age and body of the time his own form and pressure."
This quote, spoken to one of the players by Hamlet, highlights the truth of what virtue really is, and how complex and unpure it can be as time weighs down on it.
Ali Orlando
WORDS motif
3.1.61
3.1.164
3.2.1-2
3.2.18-19
3.2.64
3.2.101-2
3.2.399
3.3.102
3.4.36
3.4.47
3.4.53
3.4.57
3.4.108
3.4.167
3.4.219
4.5.117
4.5.149
4.7.138
5.1.77
5.1.84
5.1.119
5.1.140
5.1.237
5.2.122
5.2.138-9
5.2.196-7
5.2.210
5.2.294
5.2.421
5.2.434
“O, speak to me no more!
These words are like daggers to my ears.
No more, sweet Hamlet!”
This passage deals with the relationship that has developed between Hamlet and his mother, and what the distorted connection they had transformed into. This passage takes place in the play where Hamlet is yelling at his mother and comparing what King Claudius is to his father King Hamlet. He mentions the superiority his father had over King Claudius and also reveals his anger and resentment towards her decision to marry and sleep with him. This feeling that Hamlet is experiencing sheds light upon the essential theme of the play because it touches upon his grief about his father’s death, but focuses in on his anger towards his mother and his revenge he seeks from Claudius.
Hannah Benson
Men/manliness
3.1 150-151
*4.4 58
4.7 34
*"But greatly to find quarrel in a straw
When Honor's at the stake"
This quote is said by Hamlet and is taken from one of his famous soliloquy's. The soliloquy itself is about how Hamlet cannot find enough passion in himself to avenge for his father's death. He talks about how people can fight for worthless land without gumption, and he cannot seem to find a hair of emotion like that for his own father. This feeling is reflected throughout the play, and is why Hamlet reacts the way that he does throughout the whole tragedy. Hamlet cannot seem to find who he really is, or maybe he cannot find who he thinks he should be. He cannot just murder in cold blood, even if it is for a man that he loved dearly. It is through Hamlet's so called unmanly emotion that his true passion takes its shape.
Leah Palazola
Honesty/Dishonesty
3.1.113-25
3.1.131-34*
3.1.141-42
3.1.155-56
3.2.393-402
3.3.1-7
3.3.28-39
3.340-76
3.4.33-6
3.4.225-40
4.3.44-57
4.5.67-71
4.7.74-6
5.2.1-90(up until Osric enters)
5.2.344-51
*3.1.131-34
"Get thee to a nunnery. Why wouldst thou be a breeder of sinners? I am myself indifferent honest, but yet I could accuse me of such things that it was better my mother had not borne me..."
Here Hamlet is talking to Ophelia while Polonius and Claudius spy on them once again. Ophelia knows they are spying but neglects to tell Hamlet. At this moment Hamlet is telling Ophelia to enter a nunnery; therefore implying that she should not have any children. Hamlet admitts that he himself is not completely honest all the time and that it would have been better if his mother never had him. The reason for this, as well as for Ophelia not having children, is because it just brings more corruption and decpetion into the world that is already filled with plenty. This is a major theme of the play; deception/corruption. Honesty/dishonesty relates and contributes to this theme throughout the play. People are constantly being dishonest to one another; deceiving others for their own purposes. Throughout the play Hamlet struggles this; especially with his mother's marriage to his uncle Claudius. He expresses several times that he feels as though his entire world is corrupt and can not seem to escape it. This quote gets to Hamlet's real feelings. Later in the same conversation with Ophelia, Hamlet goes on to say, "God hath given you one face, and you make yourselves another" (3.1.155-56). In other words, people are born without the disease of corruption/deception in their life but they soon obtain them throught their own actions/desires/thoughts/etc.
02189Meghan Ciaramitaro
Sleep and Dreams
3.1.68-74
4.4.37
4.4.62
4.5.217
4.7.32
5.2.395
"To die, to sleep—
No more—and by a sleep to say we end
The heartache and the thousand natural shocks
That flesh is heir to—'tis a consummation
Devoutly to be wished! To die, to sleep.
To sleep, perchance to dream—ay, there's the rub,
For in that sleep of death what dreams may come"
This quote is said by Hamlet in his famous "To be or not to be" soliloquy. In this passage, Hamlet is contemplating whether it is better to live or die because he thinks dying is just like sleeping. However, he doesnt know what kind of dreams come with death. This motif also intertwines withh death and the afterlife.
Emily Philpott
women
3.1.44
3.1.127
3.1.150
3.1.155
3.2.24
3.2.176
4.5.131
4.7.215
5.1.139
5.1.240
5.1.304
5.2.230
Hamlet-is this a prologue or the posy of a ring
Ophelia-tis brief, my lord
Hamlet- As woman's love
I believe that this response from Hamlet completely sums up what he feels. All of his problems began with his mother's remarriage shortly after his father's death. One of the main themes of the play is love and compassion and his quote expresses his feelings toward his mother's love. He implies that woman's love is brief and that is a major theme throughout the play.
Food/ Appetite
3.1.155-156
3.2.56-57
3.2.91-92
3.2.208
3.3.9-10
Not where he eats, but where he is eaten: a certain convocation of politic worms are e'en at him. Your worm is your only emperor for diet: we fat all creatures else to fat us, and we fat ourselves for maggots: your fat king and your lean beggar is but variable service, two dishes, but to one table: that's the end.
4.3.19-24
jay destino
action and inaction
1.1.185
1.2.149-1.2.157
1.3.37
1.3.141-1.3.144
1.4.76
1.5.93-1.5.95
2.2.1-2.2.26
2.2.593-2.2.616
3.1.96
3.2.18
3.2.202-3.2.203
3.4.29
4.4.59-4.4.69
4.7.59-4.7.143
4.7.144
4.7.207
"When honour's at the stake. How stand I then, That have a father kill'd, a mother stain'd, Excitements of my reason and my blood, And let all sleep? while, to my shame, I see The imminent death of twenty thousand men, That, for a fantasy and trick of fame, Go to their graves like beds, fight for a plot Whereon the numbers cannot try the cause, Which is not tomb enough and continent To hide the slain? O, from this time forth, My thoughts be bloody, or be nothing worth!"
This quote is Hamlet explaining how Fortinbras is taking action on something that is almost meaningless to him. But the fact that he is taking action at all stands out to Hamlet because he cant act on his mother and uncles betrayals to his father. I believe this quote sheds a light on the essential theme of the play because the whole play is portrayed for why Hamlet is jealous for Fortinbras. He is jealous of him because he does what he wants not what he actually should do, and he cannot evenge his mother and uncle, which is the theme of the play.
Marc Alves
Death and The Afterlife
1.1.48
1.1.121-123
1.1.138-139
1.1.150
1.1.169
1.2.48
1.2.74-75
1.2.136
1.2.208
1.4.42
1.4.94-95
2.2.233
3.1.68
3.1.86
4.5.89
4.5.98
1.2.74-75
Queen(to Hamlet):" Thou know'st tis common; all that lives must die, Passing through nature to eternity.
3.1.177
3.2.87
3.4.117
3.4.126
3.4.129
3.4.144
4.5.225
4.5.227
3.4.144
"Would make them capable. TO THE GHOST. Do not look upon me."
I chose this quote becuase Hamlet is the only one cannot see the ghost. The ghost appears during the conversation and she cannot see him. This shows that Hamlet is mad and is the only one that can see him. This affects the plot and makes the rest of his movements questionable. Him being the only one who sees the ghost adds to the plot that he may acutally be mad.
Lucy Fox
WATER
3.1.67
3.1.95
3.1.147-8
3.1.185
3.2.6
3.2.73
3.2, poison in the play
3.4.148
4.5.130
4.5.169
4.5.178-9
4.5.190
4.7.181-184
4.7.188
4.7.200-210
4.7.211-17
5.1.15-19
5.2.297
5.2.340-1
4.7.200
QUEEN:
When down her weedy trophies and herself
Fell in the weeping brook. Her clothes spread wide,
And mermaid-like awhile they bore her up,
Which time she chanted snatches of old lauds,
As one incapable of her own distress
Or like a creature native and endued unto that element. But long it could not be
Till that her garments, heavy with their drink,
Pulled the poor wretch from her melodious lay
To muddy death.
LAERTES:
Too much of water hast thou, poor Ophelia,
And therefore I forbid my tears...
...I have a speech o' fire that fain would blaze,
But that this folly drowns it.
This passage is the strongest representation of the water motif, as it deals not only with water, but with tears as well. Throughout the play, water is considered a strong element that is extremely powerful. Here it is represented as powerful in its ability to take Ophelia’s life as well as “drown” Laertes’ passionate anger. Water is also depicted as something that can hold up, and support a person, but ultimately has the power to drown.
Olivia Brown
Mirrors and Likenesses
3.4.24
3.4.72
3.4.108
4.1.20-.24*
4.2.12
4.2.17
4.3.5
4.5.53-68
4.7.120-.125
4.7.201
4.7.214-.217
5.1.269-.270
5.1.300
5.2.44-.45
5.2.266
5.2.273
5.2.442
*4.1.20-.24
"This mad young man. But so much was our love,
we would not understand what was most fit,
But, like the owner of a foul disease,
To keep it from divulging, let it feed
Even on the pith of life. Where is he gone?
Food/ Appetite 3.1.155-156 3.2.56-57 3.2.91-92 3.2.208 3.3.9-10 Not where he eats, but where he is eaten: a certain convocation of politic worms are e'en at him. Your worm is your only emperor for diet: we fat all creatures else to fat us, and we fat ourselves for maggots: your fat king and your lean beggar is but variable service, two dishes, but to one table: that's the end. 4.3.19-24
This quote is from the fourth act of Hamlet, and it is the point in the play where Hamlet explains to Claudius what has happened to Polonius. Hamlet is not speaking so much about appetite or eating here, but rather using appetite for a metaphor of power, as he does throughout the play. The idea Hamlet is trying to convey is that those who seek power ultimately end up the same as the rest of the world, dead, and food for maggots. This idea is vastly important because one of the main themes of the play is that power does not long last. Hamlet is telling Claudius that all his appetite for power will gain him nothing in the end, only the same fate of the father he murdered.
Mercedes Lane
Madness and Insanity
3.4.83
3.4.164
3.4.167
3.4.209-210
4.1.20
4.1.26
4.1.35
4.5.180
5.1.161
5.1.181
5.1.184
5.1.302
5.2.246
5.2.253
Act 3, Scene 4, Lines 209-210:
(Hamlet)
"That I essentially am not in madness, but mad in craft."
Most of the play deals with the characters' madness, especially concerning Hamlet. The other characters constantly discuss how crazy he is. Maybe Hamlet is not actually crazy, and only his actions seem crazy. Some of the things he does are irrational and unusual, which could make him seem mad. He may not be crazy at all.
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