The actor who plays the part of Hamlet must make up his mind as to the interpretation of every word and deed of the character. Even if at some point he feels no certainty as to which of two interpretations is right, he must still choose one or the other.
Spoken by Hamlet, Hamlet Act 2 Scene 2: O, what a rogue and peasant slave am I! What would he do, Had he the motive and the cue for passion That I have? He would drown the stage with tears And cleave the general ear with horrid speech, Make mad the guilty and appal the free, Confound the ignorant, and amaze indeed The very faculties of eyes and ears.
Am I a coward? Who calls me villain? Plucks off my beard, and blows it in my face? Tweaks me by the nose? Remorseless, treacherous, lecherous, kindless villain!
Why, what an ass am I! The spirit that I have seen May be the devil: What a deceitful fellow — a rogue, a peasant slave — he was! It was monstrous that this actor had only to imagine grief for his face to go pale and his eyes tostream.
A made-up script of passion! He was able to effect a broken voice, a desperation in his body language, and everything he felt necessary to the situation he was imagining. And it was all for nothing! For Hecuba, dead for a thousand years!
What was Hecuba to him, or he to Hecuba, that he should weep for her? What would that actor do if he had the motive and the reason for grief that he had?
He would flood the stage with tears and split the ears of the audience with the language he would find, terrifying the innocent and making the guilty mad. He would bewilder the ignorant and amaze the eyes and ears of all.
He stood up and paced.
He was the opposite of the actor: He was shrinking away from his duty like a John-o-dreams, slow to translate his purpose into action, unable to say a word, no, not even on behalf of a king who had been robbed of his property and most precious life.
Was he a coward? The victim of bullies? Would he let them call him names, strike him on his head, pull his beard out and throw it in his face, assassinate his character?
Remorseless, treacherous, lecherous, cruel villain!The Significance of Religion in Hamlet Essay - Summary -The tragedy of Hamlet is one of the most important of Shakespeare’s plays and one that is published and . Hamlet's Fifth Soliloquy falls in the Act 3, Scene 2 prior to going in his mother's chambers for a conversation.
Prince Hamlet's mother, Queen Gertrude, sends words to summon Hamlet into her chamber to have a talk with him. Hamlet asks for a short amount of . Guide to Theory of Drama. Manfred Jahn. Full reference: Jahn, Manfred. A Guide to the Theory of Drama. Part II of Poems, Plays, and Prose: A Guide to the Theory of Literary Genres.
English Department, University of Cologne. Hamlet has the world at his feet.
Young, wealthy and living a hedonistic life studying abroad. Then word reaches him that his father is dead. Returning home he finds his world is utterly changed, his certainties smashed and his home a foreign land. I don't know if it helps to have grown up in the Roman Catholic church and served as an altar boy, like John Prine, in order to appreciate Bruised Orange as more than just another fine effort by one of the great singer-songwriters of all time.
It can't hurt, though. I’m the ghost of your father, doomed for a certain period of time to walk the earth at night, while during the day I’m trapped in the fires of purgatory until I’ve done penance for my past sins.