英国文学essay-Hamlet Soliloquies and Speeches: The Undis
2013-06-25 11:26:05 来源：liuxuepaper.Com 双击单词自动翻译
One the one hand, there is of course the denotative meaning, the gist of the passage; this is what you might come up with if you were to paraphrase the lines and interpret them strictly in terms of plot. But Shakespeares text is also rich in connotative m
One the one hand, there is of course the denotative meaning, the “gist” of the
passage; this is what you might come up with if you were to paraphrase the lines and interpret
them strictly in terms of plot. But Shakespeare’s text is also rich in connotative meaning; the
1.4.26-41
So, oft it chances in particular men,
That for some vicious mole of nature in them,
As, in their birth--wherein they are not guilty,
Since nature cannot choose his origin--
By the o'ergrowth of some complexion,
Oft breaking down the pales and forts of reason,
Or by some habit that too much o'er-leavens
The form of plausive manners, that these men,
Carrying, I say, the stamp of one defect,
Being nature's livery, or fortune's star,--
Their 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: the dram of evil
Doth all the noble substance of a doubt
To his own scandal.
Hints:
• Clear relation to Hamlet’s opening soliloquy and the “rotten” state of Denmark under Claudius
• Thematic ties – Natural defects, determined by fortune and fate, stand in opposition to reason (look at the imagery).
•2.2.577-634
O, what a rogue and peasant slave am I!
Is it not monstrous that this player here, O, vengeance!
But in a fiction, in a dream of passion, Why, what an ass am I! This is most brave,
Could force his soul so to his own conceit That I, the son of a dear father murder'd,
That from her working all his visage wann'd, Prompted to my revenge by heaven and hell,
Tears in his eyes, distraction in's aspect, Must, like a whore, unpack my heart with
A broken voice, and his whole function suiting words,
With forms to his conceit? and all for nothing! And fall a-cursing, like a very drab,
For Hecuba! A scullion!
What's Hecuba to him, or he to Hecuba, Fie upon't! foh! About, my brain! I have
That he should weep for her? What would he heard
do, That guilty creatures sitting at a play
Had he the motive and the cue for passion Have by the very cunning of the scene
That I have? He would drown the stage with Been struck so to the soul that presently
tears They have proclaim'd their malefactions;
And cleave the general ear with horrid speech, For murder, though it have no tongue, will
Make mad the guilty and appal the free, speak
Confound the ignorant, and amaze indeed With most miraculous organ. I'll have these
The very faculties of eyes and ears. Yet I, players
A dull and muddy-mettled rascal, peak, Play something like the murder of my father
Like John-a-dreams, unpregnant of my cause, Before mine uncle: I'll observe his looks;
And can say nothing; no, not for a king, I'll tent him to the quick: if he but blench,
Upon whose property and most dear life I know my course. The spirit that I have seen
A damn'd defeat was made. Am I a coward? May be the devil: and the devil hath power
Who calls me villain? breaks my pate across? To assume a pleasing shape; yea, and perhaps
Plucks off my beard, and blows it in my face? Out of my weakness and my melancholy,
Tweaks me by the nose? gives me the lie i' the As he is very potent with such spirits,
throat, Abuses me to damn me: I'll have grounds
As deep as to the lungs? who does me this? More relative than this: the play 's the thing
Ha! Wherein I'll catch the conscience of the king.
'Swounds, I should take it: for it cannot be
But I am pigeon-liver'd and lack gall
To make oppression bitter, or ere this
I should have fatted all the region kites
With this slave's offal: bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless
villain!
Hints for 2.2.577-634:
• Interrogate the opening line – Why does Hamlet call himself a slave? Slave to whom, or what? What if he is a
rogue slave? What’s the connotation? Is there a connection to free will, choice?
• Look at the “whore” simile? Why would Hamlet liken himself to a whore? Who else might be considered to be a
whore in this play? How might Hamlet be considered like them here?
• Consider how the discussion of the power and impotence of speech and words; who ‘says’ something here (2x),
and when (2x)? To whom? (2x)? What words produce an effect (action) within the context of this soliloquy, and
what words are associated with inaction? What accounts for the difference? What does this suggest about words in
relation to Prufrock’s (and Hamlet’s?) question? What’s the relationship between language and action (effect on
others) in the case of the player? In Hamlet’s case?
• Look at the kinds of birds referenced in this passage. What does effect does this implicit comparison – the
juxtaposition of bird types – have?
• Consider the possible irony of Hamlets resolution to set the “mousetrap” to ‘test’ the veracity of the Ghost’s claims
– What stance is he taking here? What system of thought does it suggest? Does this contrast with his stance when
he compares himself to the Player in any way? Is there any tension between reason and faith here?
3.1.64-96
To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
相关热词搜索：英国 文学 essay -Hamlet Soliloq
passage; this is what you might come up with if you were to paraphrase the lines and interpret
them strictly in terms of plot. But Shakespeare’s text is also rich in connotative meaning; the
1.4.26-41
So, oft it chances in particular men,
That for some vicious mole of nature in them,
As, in their birth--wherein they are not guilty,
Since nature cannot choose his origin--
By the o'ergrowth of some complexion,
Oft breaking down the pales and forts of reason,
Or by some habit that too much o'er-leavens
The form of plausive manners, that these men,
Carrying, I say, the stamp of one defect,
Being nature's livery, or fortune's star,--
Their 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: the dram of evil
Doth all the noble substance of a doubt
To his own scandal.
Hints:
• Clear relation to Hamlet’s opening soliloquy and the “rotten” state of Denmark under Claudius
• Thematic ties – Natural defects, determined by fortune and fate, stand in opposition to reason (look at the imagery).
•2.2.577-634
O, what a rogue and peasant slave am I!
Is it not monstrous that this player here, O, vengeance!
But in a fiction, in a dream of passion, Why, what an ass am I! This is most brave,
Could force his soul so to his own conceit That I, the son of a dear father murder'd,
That from her working all his visage wann'd, Prompted to my revenge by heaven and hell,
Tears in his eyes, distraction in's aspect, Must, like a whore, unpack my heart with
A broken voice, and his whole function suiting words,
With forms to his conceit? and all for nothing! And fall a-cursing, like a very drab,
For Hecuba! A scullion!
What's Hecuba to him, or he to Hecuba, Fie upon't! foh! About, my brain! I have
That he should weep for her? What would he heard
do, That guilty creatures sitting at a play
Had he the motive and the cue for passion Have by the very cunning of the scene
That I have? He would drown the stage with Been struck so to the soul that presently
tears They have proclaim'd their malefactions;
And cleave the general ear with horrid speech, For murder, though it have no tongue, will
Make mad the guilty and appal the free, speak
Confound the ignorant, and amaze indeed With most miraculous organ. I'll have these
The very faculties of eyes and ears. Yet I, players
A dull and muddy-mettled rascal, peak, Play something like the murder of my father
Like John-a-dreams, unpregnant of my cause, Before mine uncle: I'll observe his looks;
And can say nothing; no, not for a king, I'll tent him to the quick: if he but blench,
Upon whose property and most dear life I know my course. The spirit that I have seen
A damn'd defeat was made. Am I a coward? May be the devil: and the devil hath power
Who calls me villain? breaks my pate across? To assume a pleasing shape; yea, and perhaps
Plucks off my beard, and blows it in my face? Out of my weakness and my melancholy,
Tweaks me by the nose? gives me the lie i' the As he is very potent with such spirits,
throat, Abuses me to damn me: I'll have grounds
As deep as to the lungs? who does me this? More relative than this: the play 's the thing
Ha! Wherein I'll catch the conscience of the king.
'Swounds, I should take it: for it cannot be
But I am pigeon-liver'd and lack gall
To make oppression bitter, or ere this
I should have fatted all the region kites
With this slave's offal: bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless
villain!
Hints for 2.2.577-634:
• Interrogate the opening line – Why does Hamlet call himself a slave? Slave to whom, or what? What if he is a
rogue slave? What’s the connotation? Is there a connection to free will, choice?
• Look at the “whore” simile? Why would Hamlet liken himself to a whore? Who else might be considered to be a
whore in this play? How might Hamlet be considered like them here?
• Consider how the discussion of the power and impotence of speech and words; who ‘says’ something here (2x),
and when (2x)? To whom? (2x)? What words produce an effect (action) within the context of this soliloquy, and
what words are associated with inaction? What accounts for the difference? What does this suggest about words in
relation to Prufrock’s (and Hamlet’s?) question? What’s the relationship between language and action (effect on
others) in the case of the player? In Hamlet’s case?
• Look at the kinds of birds referenced in this passage. What does effect does this implicit comparison – the
juxtaposition of bird types – have?
• Consider the possible irony of Hamlets resolution to set the “mousetrap” to ‘test’ the veracity of the Ghost’s claims
– What stance is he taking here? What system of thought does it suggest? Does this contrast with his stance when
he compares himself to the Player in any way? Is there any tension between reason and faith here?
3.1.64-96
To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
相关热词搜索：英国 文学 essay -Hamlet Soliloq
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