*********HAMLET BLOG 5*********

"Hang Me Up To Dry"

Careless in our summer clothes, splashing around in the muck and the mire
Careless in our summer clothes, splashing around in the muck and the mire

Fell asleep with stains, caked deep in the knees (what a pain)

Now hang me up to dry
You wrung me out too, too, too many times
Now hang me up to dry
I'm pearly like the whites wh-whites of your eyes

All mixed up in the wash
Hot water bleeding our colors
All mixed up in the wash
Hot water bleeding our colors

Now hang me up to dry
You wrung me out too, too, too many times
Now hang me up to dry
I'm pearly like the whites wh-whites of your eyes

Now hang me up to dry
You wrung me out too, too, too many times
Now hang me up to dry
I'm pearly like the whites wh-whites of your eyes

http://www.azlyrics.com/lyrics/coldwarkids/hangmeuptodry.html






“within a month” (1.2.153)- The Cold War Kids produced a song about to cope with a break up that moved on too fast. Hamlet's mom as seen by Horatio moved on too fast, with "Most wicked speed" is used to describe how quickly she progressed into marrying again.
"to die:to sleep” (3.2.64-60)- To draw a parallel between death I choose being hung up to dry. Horatio was left to fend for himself after the kingdom had been purged and Fortinbras restored, thus he is left "to be or not to be."
"Up, sword; and know thou a more horrid hent” (3.3.88)- The Cold War Kids used the parallel that Horatio can again appeal to. "Bleeding out all the colors" in the song is used to show how his life around him is bleeding and this is most just in the comparison to Horatio.

“O God! A beast, that wants discourse of reason” (1.2.149)-The woman in this song, like Gertrude is compared to a beast. Thus, the break in the chain of being.
“unweeded garden” (1.2.134)- The conceit used in the song is a washer, all the clothes being tumbled about. Horatio can see this exemplified in the garden.
 “A young maid’s wits should be as mortal as an old man’s life,” (4.2.76)- While the maid is the man in the song we can see that Ophelia is represented by this quote, she is frail from Hamlet and Horatio realizes this.
“When sorrows come, they come not single spies, but in battalions” (4.5.37)- Sorrow is a theme that protrudes from both works. The sorrow in the media is shown from the pain of the brake up. However, hamlet is brought to sorrow no by Polonius but the battalions.
“Slings of arrows… sea of troubles… heart-ache and the thousand shocks” (3.1.59-62)
"I was the more deceived."(2.1.117)- Horatio was deceived by everyone, the only true character to not sin, thus no die. The song refers to deception as a form of a heart break.
"There is no shuffling, there the action lies" (act 3.1.61)- The action in the song is found in the shuffling of the chain of a relationship, similarly the chain is altered in the "Hamlet" by the chain of being be out of place thus the formation of action occurs. Horatio is a witness, the lone survivor of the play.

#16 Horatio 4

To “The Masses”, Oh, the clarity, the clarity! Peter J Seng uses all parts of rhetoric to uncover “Dramatic Function of the Songs in Hamlet”. Through analysis and careful attention to detail, he sifts through the surface meaning of many great fragments in “Hamlet” by William Shakespeare to undercover the depth in their denotation. Aye, the poor girl the poor girl, has no one a care in the world?? Ophelia cries out through song with the venous lashings as her fate becomes more and more apparent. Beyond “The surface irony…that the ballad relates to the death of Polonius- is not wrong,” (Seng217) no one seemed to break the ice for I originally believed that the death of Polonius was all that it concerned, oh I was wrong. Ophelia is the oppressed, nay, the victim of an “unweeded kingdom” (2.1.117) she cannot bear the hurt of what she encounters any longer. “Rich gifts wax poor when givers prove unkind” (3.2) I found this most meaningful to when Laertes and Polonius come in to convince her to stay away from Hamlet, mocking her in verse. Later, when she hears of Polonius’ death, witnesses Hamlets madness, and finds her love confused. She transitions most rapid into a rabid dog, from the form of a docile sheep. Love can twist and shake. And with good reason “Doubt thou the stars are fire; Doubt that the sun doth move; Doubt truth to be a liar; But never doubt I love,” (2.2.88). In her song as a reader I witness the ballad talk of “true-love”, aye; this is Hamlet (Seng219)? Yes, but Ophelia uses the broken love to highlight “His disappearance, illuminates in her deranged mind the few paltry facts she possesses,” (Seng219). My fair Hamlet doth address that the death of Polonius was not sorrow, what came after is sorrow, “When sorrows come, they come not single spies, but in battalions” (4.5.37) The source of the sorrows is mistrust and as far as we know is “Something new to her” (Seng220). However, do not let my talk confuse you Hamlet’s love for Ophelia never disappeared, only faltered, for he says “Forty thousand brothers could not (with all their quantity of love) make up my sum,” (Seng222). Oh, the false pretenses, how could I not see, I was blind. The songs “can be seen to be intimately related to the tragic fortunes of the family of Polonius” (Seng223). Polonius and Laertes warned Ophelia, and not we see the irony in their family meeting. Fragile is Ophelia, “A young maid’s wits should be as mortal as an old man’s life,” (4.2.76). She is broken a symbol of permiscuity , “picturing herself as Marian to Hamlet’s Robin Hood… the nightmare world of her valentines song,” (Seng 223). The Ballad and lines of song in haste seem so shallow but in fruit the lines bite deep. For when the reaper comes a knocking, and the day is laid to ash, the lines go on talking and all roles intertwined lead to that something rash. Till next a time, Horatio

#16A LITERARY CRITICISM SHEET

HOW TO READ LITERARY CRITICISM: In the course of your college career and beyond, you will be asked to read and analyze texts that offer criticisms of primary texts (such as fiction, poetry, drama, and film). Often, reading critical sources is difficult: the language is often esoteric, assuming a certain amount of familiarity on the part of the reader. The denseness of language and sentence structure, not to mention the multiple arguments eclipse rather than illuminate the meanings of the primary text(s). To make it all even more daunting, most students encounter this type of text only upon entering college; thus, they lack training and strategies in approaching these texts. Furthermore, as we strive to achieve more sophistication in writing style, and more depth in thought, it is important to take a look at “style models”. 1. Argument or thesis – can often be stated as a question or a statement, introduced and elaborated on. Ask yourself the following questions: Why does the author write the piece? What does s/he seek to convey? 2. Does the essay offer “clues” as to the author’s subject position, i.e., with regard to gender, race, class, intellectual orientation? Does it demonstrate how the author intended the essay to be used? 3. With regard to the author’s subject position, look for identifiable word choices or verb form choices. What assumptions does the author make? What does the author does not say? 4. Look for idea/example pairs, moments when the author introduces an idea and then offers an example that solidifies that idea. 5. Look for examples which support the primary argument; try to determine if they are effective or ineffective. Why or why not? Does the author use different examples to make the same point? If not, what does each kind of example contribute to the argument? 6. Can you mimic the author’s thinking and/or ideas by using examples not offered in their essay (reading with the grain)? 7. What textual examples can you come up with that challenge and/or critique the author’s ideas (reading against the grain)? 8. Use the ideas above to determine whether the essay is persuasive: does it support, challenge, unseat what you know about the topic? Does the argument make sense (is it logical)? 9. What rhetorical choices (concerning style or word choice, for example) does the author make? How do these choices help to convey the meaning of the text? In a play, for example you might ask how the author's attention to choice of setting relates to the theme of the play. If you are reading a critical essay about a poem, you might ask how the writer uses voice (who is speaking--the poet or someone else) helps to convey the theme. HOW ARE LITERARY DEVICES USED TO CONVEY GREATER SIGNIFICANCE? 10. What do you think are the key passages in the text? Why are they important? How do they work with the rest of the text to convey the author's meaning? http://www.edline.net/files/_tfJU5_/19fdac8cf5066a4c3745a49013852ec4/TO_BLOG_OR_NOT_TO_BLOG_BLOG_UPDATE_2013.pdf

#15 Hamlet Blog 3

"Hamlet's Soliloquy ." To be, or not to be, that is the question. phrases.org, n.d. Web. 7 Nov. 2013. . The uncertainty of death lies in Hamlet’s use of imagery he cannot otherwise state. In an outward expression of his uncertainty after death he uses the quote “For in that sleep of death, what dreams may come” (3.1.66). As a reader we can denote that “sleep of death” means “in death” and the lines following ask what happens in death, “Dreams may come”. Later in his speech again the uncertainty of death is prevalent. “The dread of something after death,” (3.1.78) explicitly states that Hamlet dreads to learn what comes after death. However why is he scared of death and “dreading” the quintessential question of death? For Hamlet is haunted by life, “Slings of arrows… sea of troubles… heart-ache and the thousand shocks” (3.1.59-62). He ponders over only the negative aspects of the life, in full neglect of the good. The connotation of “slings of arrows” raise images of skies darkened by the daggers from bows, a “Sea of troubles” clouds his mind. However, he cannot kill himself, which is dishonorable in the social culture of the time and Christian religion. Thus we can see the appeals to ethos, logos and pathos in the lines above. Hamlet let us know he is not truly insane, but rather confused, affirming his credibility(ethos). Progressing into his feelings he explains how one should look in his situation (pathos). Finally in an appeal to logos he claims he cannot kill himself for he is a christian. 

Literary devices that are undoubtedly present are paradox, tone, diction, and metaphor. The two primary metaphors in this soliloquy is that death is "sleep" and the "undiscovered country" is the afterlife. However, you may ask yourself "does Shakespeare give it a rest?" The answer is no. He goes on to indulge his paper with the comparisons of life on earth, the afterlife, death, humans, and thinking. The oppositions present in Hamlets argument are: one, the idea of faith, two, should he kill himself or Claudius, and is he contained to life because he fears death. Hamlet begins to ponder this state of purgatory he is living in the earthly life. There are many parallels to Hamlet Senior in this statement, for Hamlet is lost like his father, however hamlet is lost in the question, "To be or not to be." Hamlet eventually draws the conclusion that he must "be" because he cannot follow through on the latter. Thus he solemnly accepts his fate.  

Acting analysis:

Kenneth Branagh:
This was truly my favorite. The juxtaposition of light and dark in the tile spaces, the setting of a seemingly open room filled with people, the knife, the black dress, white makeup and the over the shoulder shot. All aspects of film are seamless. The tiles are essentially part of the setting so I shall count them as such. In the setting we, the audience can see hamlet staged in a wide open room seemingly talking to himself in the mirror. We can see his facial expressions at the intensity of his tone increases and visually the red in his face.Then the mirror, oh the irony, with half the cast cowering in fear behind it. Then the actual mis en scene. The over the shoulder shot allows us to focus on Hamlet in the mirror and see his true self in our peripheral vision. He is a monster glowering read and spitting fire, a no truer tribute to the hamlet I envisioned in my head. Bravo!
Lawrence Oliver:
As far a screenplay goes this was quite laughable. Hamlet is a goofy fool in this this scene with the dark and the light contrast on his face, the ocean and the castle, and body language of a cat. Hamlet is not how I imagined. However he does seem defeated and the use of his knife as an argument is almost too perfect. As he plans to kill himself the knife move closer and when he forces a rebuttal the knife moves away, beautiful. However, his body language is laughable, he is slouching and laying down almost the whole time!
Mel Gibson:
While I may be biased(Mel Gibson is gosh awful, there I said it) he does do an adequate job portraying Hamlet in this scene. He uses the positing of himself as he moves about the morgue and the contrast of the light and dark from the vents to portray his character as he move closer to the life he begins to live and when he lurks in the shadow he is talking of dying.
Ethan Hawke:
Lets all go to blockbuster and be Hamlet! Well at least that is what Ethan Hawke is suggesting...Hawke is normally an adequate actor but in this scene he fails. I just don't care for it. The setting is all awkward. The language is awkward. Awkwardness is everywhere. However, if one thing does succeed it is the nondiagetic sound of the music, the crescendo in the background is almost perfect with his speech.

#14 Hamlet Blog 2

My most dear reader, THE USUAL SUSPECTS, A SYNOPSIS "I believe in God, and the only thing I'm afraid of is Keyser Soze." "The Usual Suspects" is the movie of a revenge quilted in deception. Verbal Kint, "the cripple", harbors a tale after being a witness to a crime that killed 27 men in the harbor. Keyser Soze is the scapegoat Verbal gives the police to work with. The police pick and pick at verbal until his allotted time runs out. The police can not figure out a motive, and they chalk the case up to Keyzer Soze. Then just as Verbal is released, the police interviewer realizes Verbal lied about every word he told him. There is no Keyser Soze, there is only Verbal Kint, and like "Poof, he's gone up in smoke." Mr. Kint, much like I is placed at a disconnect from the action, absolving us both from the "unweeded garden" in which we became involved. I see the rot of the kingdom and do not become involved, for I don't know the extent to which a kingdom befalls itself. In the words of Ophelia, "I was the more deceived."(2.1.117). The tale I do not let myself befall I let the tale befall I. Thus, I am the eyes of a wall not a player to the game, "T' have seen what I have seen, see what I see!" (2.1.151). Hamlet, he alone is the source of this strife but I honor him and honor him dearly, "O, my dear lord," (act 2.2.38). I know not what to think of you my friend, for I am distanced. I agree with you knowing only what I know for when you speak of poison I agree with you, "You might have rhymed," (act 2.2.245). You speak truth, and sincerity. I am only an observer in this play of your kingdom. All players in this tale have sinned in one way or another and you, you are no exempt. But your friend, and beknownst you be a friend to I. I must believe you. Like the cripple, I have only my ear to lend, but no opinion to speak, for I do not want to draw my self into my own demise, "There is no shuffling, there the action lies" (act 3.1.61). "The greatest trick the devil ever pulled was convincing the world he didn't exist" (The Usual Suspects) "You need the will to do what the other guy wouldn't do"(The Usual Suspects) "He would rather see his family dead than live another day after this"(The Usual Suspects) "It didn't make sense that I would be there, these guys were hardcore hijackers, but there I was."(The Usual Suspects)

#13 Hamlet Blog 1

My Dear Hamlet, You’re troublesome my friend, I tell it by your brow. The marriage of Claudius and Gertrude after a month no less is rather rapid. In most tasteful haste I heard you declare “A little more than kin, and less than kind,” (1.2.66). This “unweeded garden,” (1.2.135) you’re the kingdom from which you stem is rank. I tell you once and I will tell you again, “Two nights together had these gentlemen, Marcellus and Bernardo, on their watch, in the dead vast and middle of the night, been thus encounter'd a figure like your father,” (1.2.196-199). Most incestuous is marriage between Claudius and Gertrude, arise may he for purpose of reaping or… I shake. No more, no more, I am your friend. This marriage is the rot and quarry you feel brewing inside, terror rings and plucks at the hair of my neck, “It is a nipping and an eager air” (1.4.2). The ghost, why I swear it my dear Hamlet, why I swear it? O day and night, but this is wondrous strange! I am your friend I cry tell me what you hear why you have gone estrange, why. Confide in me Hamlet! Until then dearest Hamlet, Horatio

#12 Hamlet Character Paragraph Justification

I have decided to blog in the perspective of Horatio. Horatio is ultimately the closest character to Hamlet and plays a part similar to Nick Caraway in “The Great Gatsby.” I thought of this perspective as quite unique. Hamlet confides all of his plans, as well as inner thoughts to Horatio. The point of view Horatio has allows dimensions in “Hamlet” to emerge. Horatio is the rock, the intelligence, the friend, and most importantly the truth. His neutrality will offer a unique perspective, a perspective I in theory hope to exemplify in my writing.