Hamlet's Antic Disposition
[See Hamlet, II.ii.159-185 in which Polonius proposes to use his daughter Ophelia as a bait for Hamlet, while Polonius and Claudius conceal themselves behind an arras; at which point Hamlet enters unexpectedly and is spoken to by Polonius]
Everything that Hamlet here says is capable of an equivocal interpretation reflecting upon Polonius and Ophelia. "Fishmonger," as many commentators have noted, means a pander or procurer; "carrion" was a common expression at that time for "flesh" in the carnal sense; while the quibble in "conception" needs no explaining. And when I asked myself why Hamlet should suddenly call Polonius a bawd and his daughter a prostitute-for that is what it all amounts to-I could discover but one possible answer to my question, namely that "Fishmonger" and the rest follows immediately upon "loose my daughter to him." Nor was this the end of the matter. For what might Hamlet mean by his sarcastic advice to the father not to let the daughter "walke i'th Sunne," or by the reference to the sun breeding in the "carrion" exposed to it? Bearing in mind Hamlet's punning retort "I am too much in the 'son,'" in answer to Claudius's unctuous question at J.ii.64,
And now my cousin Hamlet, and my son,
How is it that the clouds still hang on you?
- and recalling Falstaff's apostrophe to Prince Hal: "Shall the blessed sun of heaven prove a micher and eat blackberries? a question not to be asked. Shall the son of England prove a thief and take purses? a question to be asked," is it not obvious that Hamlet here means by "Sunne" the sun or son of Denmark, the heir apparent, in other words himself? A...
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...n to spy upon him has a bearing much wider than his attitude towards Ophelia. Indeed, the manner in which it eases the general working of the plot is strong testimony in its favor. As we shall find, it constitutes the mainspring of the events that follow in acts II and III; it renders the nunnery scene playable and intelligible as never before; it adds all kinds of fresh light and shade to the play scene. In a word, its recovery means the restoration of a highly important piece of the dramatic structure. For the moment, however, let us confine our attention to the matter in hand; and see what it tells us about Hamlet's relations with the daughter of Polonius. Here its value is at once obvious, since it casts its light backward as well as forward and enables us for the first time to see these relations in proper perspective and as a connected whole.
While Hamlet may still be feeling depressed Hamlet moves into the stage of denial and isolation. Hamlet feels the effects of denial and isolation mostly due to his love, Ophelia. Both Hamlet’s grief and his task constrain him from realizing this love, but Ophelia’s own behavior clearly intensifies his frustration and anguish. By keeping the worldly and disbelieving advice of her brother and father as “watchmen” to her “heart” (I.iii.46), she denies the heart’s affection not only in Hamlet, but in herself; and both denials add immeasurably to Hamlet’s sense of loneliness and loss—and anger. Her rejection of him echoes his mother’s inconstancy and denies him the possibility even of imagining the experience of loving an...
One of the most emotional and moving scenes in William Shakespeare's tragedy Hamlet is in Act III, Scene I lines 90-155 in which the title character becomes somewhat abusive toward his once loved girlfriend Ophelia. It is interesting to examine the possible motives behind Hamlet's blatant harshness in this "Get the to a nunnery" scene toward the easily manipulated and mild mannered girl. While watching Kenneth Branagh and Mel Gibson's film adaptations of the play, the audience may recognize two possibilities of the many that may exist which may explain the Prince's contemptible behavior; Kenneth Branaugh seems to suggest that this display of animosity will help the troubled man convince his enemies that he is in fact demented, whereas the Mel Gibson work may infer that Hamlet's repressed anger toward his mother causes him to "vent" his frustrations upon Ophelia, the other female of importance in his life.
The bond between father and daughter is something that some consider sacred. Polonious uses this bond with Ophelia to please Claudius and Gertrude in finding our what is wrong with Hamlet. The King and Queen were very upset at Hamlet's seeming insanity. They tell Rosencrantz and Guildenstern that finding out what is wrong with Hamlet would be "the supply and profit of [their] hope (P.34)." They are obviously disenchanted at his behavior, and Polonious knows this, and tries to use his daughter to prove his theory. When Ophelia came and described to him her meeting with Hamlet in Act I, Polonious immediately took her to the King. Polonious, acting on his duty to "both [his] God and to [his] gracious king (P. 34)" took Ophelia to Claudius to see if he could be any help in trying to find out what is wrong with Hamlet. He quickly tells the king that he will ".loose [his] daughter to [Hamlet] (p. 38)" and concocts an elaborate plan t...
“A warrior poet had been born and bred, and now he needed to walk the earth. He would be in danger for the rest of his life. But he would also bring art to his world and ours” (Clifford 26). Born in New York on June 16, 1971 as Lesane Parish Crooks but known to the public as Tupac Shakur was an iconic Hip-Hop artist, actor, poet, dancer and writer. Being raised by his mother Alice Faye Williams also known as Afeni Shakur, a former Black Panther leader, and other members of the Black Panther Party may have been the reason Tupac Shakur fought for justice for African Americans. From the time he about two years old, he was encouraged by his mother to write his thoughts and emotions as a form of discipline. Biographer and family friend of the Shakur
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To understand the disease, you must know its interesting history. In 1885, the French physician, Dr. Georges Albert Eduoard Brutes Gilles de la Tourette, first suggested that the disease’s symptoms were part of a distinct condition different from other movement disorders. (Shimberg, 1995 p.25) Tourette studied several patients he believed to have the disorder. These studies included a French noblewoman who used to interject obscenities during conversation. (This is also known as coprolalia,) Tourette came to the conclusion that TS was hereditary, (Shimberg, 1995, P.67) that the disorder did not have any intellectual or psychological deterioration, (Shimberg, 1995, p.69) and he also correctly identified the childhood onset of the disease.
...n other words, the baker, “whose business it is to make bread,” has “something in the oven” (OED Online). Considered in this context, Hamlet’s reference to Polonius as a “fishmonger” or pimp makes sense (2.2.184). Hamlet knew Polonius was “tender[ing]” (1.3.109-113) his daughter to “catch woodcocks” (1.3.119). Likewise, this is why Hamlet warned Polonius against allowing Ophelia to “walk i’th’sun” (2.2.194). After all, “the sun breed[s] maggots” (2.2.191) and “conception is a blessing,/but not as your daughter may conceive” (2.2.194-195).
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Hamlet wants to use Ophelia for his sexual desire, but also to provoke his uncle-father and mother. Polonius warms that Ophelia will not get what she expects out of this relationship, showing her that there are other people who will care for her more than Ophelia. The word “beguile” means to enchant, so, again, Polonius warns Ophelia that he will take advantage of her for his own good, and Ophelia should be aware of all the consequences that will follow when the relationship ends. At the end, Polonius suggests that Ophelia should talk to Hamlet and end their relationship. Ophelia responds with the submissive, “I shall obey, my lord.” This shows how submissive Ophelia is and how loyal she is to her father. Although Ophelia is loyal, too much of anything is a bad thing. Because of her unbounded loyalty, Ophelia is defined as Polonius, she doesn’t know how to be an individual. At one point, Romestant suggested that “without the presence of a mother figure, Ophelia grew up sandwiches between [Polonius] and his rigid ideas alone, and did not have an opportunity to develop any kind of sophisticated identity,” (6). Although this claim seems reasonable, Ophelia has been bound to Polonius from birth, and if you replaced him with a woman, she would still be dependent on the woman. The dependence of her mother would be fueled by Polonius, therefore Ophelia
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Ophelia begins the play as an innocent, trusting, and spirited young girl, full of promise and full of life. But, all too soon her view of men and the world in general is tainted. Her brother warns her that Hamlet may be toying with her affections and to, "fear it, Ophelia, fear it, my dear sister..." (1.3.33). With these simple words he implants the seeds of distrust and betrayal. These themes of distrust and betrayal are interwoven throughout much of the play, from the murder of the King, to the constant spying of Polonius.
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Ophelia’s betrayal ends up putting Hamlet over the edge, motivating him in his quest for revenge. Ophelia is one of the two women in the play. As the daughter of Polonius, she only speaks in the company of several men, or directly to her brother or father. Since we never see her interactions with women, she suppresses her own thoughts in order to please her superiors. Yet, however weak and dependent her character is on the surface, Ophelia is a cornerstone to the play’s progression.
Gertrude talks to Hamlet, “Good Hamlet, cast thy nighted color off, / And let thine eye look like a friend on Denmark. / Do not forever with thy vailèd lids” (1.2.68-70). She speaks to Hamlet worried and distraught about his well-being because she sees him in this erratic state. She uses dictions of “vailèd lids” to accentuate that he needs to open his eyes from the madness. Gertrude tone displays her love for Hamlet that will not cease. She illustrates her concern for Hamlet showing that even though she has betrayed his father and him, that she still loves and is full of compassion for Hamlet. “Polonius speaks to Ophelia telling her, “That hath made him mad./ I am sorry that with better heed and judgment. (2.1.111-112). Polonius apologies for the result of his action to Ophelia as his decision to keep her from Hamlet is what he thinks is the cause of his madness. Polonius response to his daughter, which changes from his possessive tone to an understanding one, shows that he sees her compassion and love for Hamlet furthermore to her choice of obedience to Polonius over her compassion for
Ophelia is used by not only Hamlet, but also by Polonius and Claudius. Hamlet uses Ophelia after he goes mad. Ophelia is manipulated by Hamlet to display to the King and the rest of the court that he is in fact mad. When Hamlet enters her room wearing disheveled clothing and acting quite strange towards her, he knows that Ophelia will tell her father and the King. Ophelia then reports this strange occurrence to her father, telling him about his strange composure of taking her “by the wrist and” holding her hard and then “shaking” when he was about to let go. (Act 2, Scene 1 Lines 86-91) The team of Polonius and the King also exploits Ophelia in order to dig deeper into Hamlet’s madness. David Bevington agrees claiming that Ophelia is passive and thus “becomes an instrument through which Claudius attempts to spy on Hamlet.” They use Oph...