Great to finally be back on a theatre trip #dramaschool #youngvic #hamlet https://www.instagram.com/p/CVTMA3hoUbs/?utm_medium=tumblr
Great to finally be back on a theatre trip #dramaschool #youngvic #hamlet https://www.instagram.com/p/CVTMA3hoUbs/?utm_medium=tumblr
THE VERSION OF HAMLET WITH DAVID TENNANT IS SO FUCKING QUEER GODDD ESPECIALLY HAMLETS DEATH SCENE JFCCCCC
"Romeo is Hamlet in love"
- William Hazlitt
Posting my old hamlet essays/studies means that I am now facing the mortifying ordeal of being known in my formal writing style
Gaultheria procumbens Big berries - Eastern tea berry
A good little evergreen, with white/pink flowers followed by winter berries.
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It will also grow in shade.
Looking to change over from summer bedding to winter bedding?
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Pot House Hamlet
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I need you all to know this is a highschool essay dug out from the bowels of my computer and as such it’s structured like a highschool essay. Very point A point B. So please don’t expect it structurally to be good, or to be very sophisticated analysis.
Nobody truly loves in Hamlet
Love is a significant theme in Hamlet, with many characters seemingly acting out of love, or claiming to act out of love. Indeed, the very act of revenge the play centres around, the act of Hamlet killing Claudius, arises from his love of Old Hamlet. Within the play, there is some familial love found. However, all of this is ultimately twisted and corrupted, until there is little good left in it. Furthermore, almost all romantic and platonic love is stripped from the world within the play – there may have been some before, but by this point there is little. The only true and uncorrupted love is shown by Ophelia and Horatio, but neither of them with this love are able to continue utterly within the play’s Elsinore which is so utterly emptied of love. As such, both must find exits: Ophelia leaves this world through suicide, Horatio by transcending his role merely as a character at the end, and taking on the exterior role of the narrator.
Familial love is clearly crucial in the play, as the inciting incident itself is Old Hamlet calling on his son’s love (“if thou didst ever thy dear father love”) to avenge his “foul and most unnatural murder.” Hamlet does clearly love him, as for one, he takes up the role of avenger, and for another, when we are introduced to him he is still mourning in his “nighted colour,” suggesting he is still wearing funeral clothes. Laertes shows concern for his sister in Act 1, where he advises his sister, albeit unwisely, to “keep you in the rear of your affection,” and his act of leaping into the grave highlights his grief. However, ultimately the love in both these relationships is twisted. Old Hamlet by asking for revenge is asking Hamlet to commit an act that, in the eyes of the Elizabethans, would have caused him to go to Hell, a demand which surely a truly loving father would not have asked for, and Hamlet’s acceptance of this demand borders on real madness, with his “wild and whirling words.” Equally, Laertes’ love for his sister leads to him berating her to break off her relationship with Hamlet, which eventually she does, which causes grief to both her and Hamlet. Polonius, too, loves his children, but it manifests as him spying on Laertes and attempting to mildly slander his name to see if he has been behaving correctly, and forcing Ophelia ultimately to break it off with Hamlet and then lie to him. This love is corrupted. In Gertrude and Hamlet, too, we see this. Beatty says that Hamlet “trusted implicitly” his mother, and that her betrayal of his father shook him to his very core. Certainly it is true that his shock at the marriage leads to utter misogyny in the claim he makes in his very first soliloquy: “frailty thy name is woman,” which suggests that Beatty is right, as this is too great a hatred to be birthed from anything but the breaking of a great trust and love. Thus, it is likely Hamlet did care for Gertrude, yet his cruelty in his insults in Act 4, claiming she is merely driven by lust and carnal desire, shows that this love has been broken. Gertrude’s feelings towards Hamlet are debated, but her early insistence that he move on from his grief suggests a lack of care for his feelings. Ultimately, then, familial love is found throughout Hamlet. However, all this familial love is in some way twisted and darkened in the atmosphere of deceit and suspicion created throughout the narrative.
Romantic love, on the other hand, though previously found at Elsinore before the beginning of the narrative, is ultimately lacking in all but one heart – that of Ophelia. Claudius’ love of Gertrude has been heavily debated for centuries, but in truth it is not necessarily shown in the play. When he describes the things he has gained in the chapel, he lists “the crown, mine own ambition and my queen.” The positioning of Gertrude at the end of the list suggests that the crown, gained through marrying her, is more important to him, and calling her “my queen” instead of anything more intimate or her name suggests that he cares more about her title and the role with which she provided him than about her as a person. As such, Coleridge’s claim that Claudius fundamentally wanted to gain “the power, the throne, royalty” seemed more accurate than other scholars’ claims that he truly did love her. Gertrude also, in her love of Old Hamlet, appears to have been false, given the speed with which she married Claudius with her husband “not two months dead.” She may have loved him, but she clearly does not by the time of the play. It is generally agreed that Hamlet did love Ophelia before the play, but his cruelty towards her does not seem indicative of love. His fickleness in the nunnery scene where he taunts her, saying “I did love you once” and then “I loved you not,” his insults to her as all women who “make your wantonness your ignorance,” and his repeated demands that she “get thee to a nunnery” which in most productions are accompanied with physical violence of some sort. Ophelia’s own words about how Hamlet “hath made many tenders of his affection” to her suggest certainly that he did love her, but his brutality during the play, as Bradley says, suggests this love has been twisted by “suspicion and resentment” when she lies about Polonius being at home.
Ophelia, then is the only character in the play whose romantic love remains true and good throughout. All others have lost any romantic love they may once have had. However, even in her madness, the first thing Ophelia asks is “where is the beauteous majesty of Denmark,” which has enough similarity to her act 3 description of Hamlet as “the glass of fashion and the mould of form” to suggest she is talking of Hamlet instead of Claudius – clearly she loved him throughout and did not waver. Indeed, it was been suggested that Hamlet’s cruelty and rejection is ultimately that which unbalanced her. However, within the loveless environment at Elsinore, Ophelia cannot live. Love cannot survive in a vacuum of love, and so she dies in order to escape from this corrupted world created within the play.
She shares this escape with Horatio, the other character in the play who consistently shows pure love, although in this case it is platonic love. The other example of platonic love could have been between Hamlet and Rosencrantz and Guildenstern, but it is soon clear there is no real love here. Rosencrantz and Guildenstern both agree to spy on Hamlet for Claudius, and Hamlet arranges their deaths. Hamlet and Horatio, however, do truly love each other, to such an extent that there is a more modern reading that suggests Horatio felt romantic love for Hamlet. Hamlet trusts Horatio enough that he does not pretend to be mad in front of him in Act 3, speaking in poetry again in front of Horatio while only speaking prose, which in this case represents his madness, in front of everyone else. Horatio too, as Spaeth says, “remans loyal at the close,” and indeed is the only character who does remain utterly loyal throughout. That being said, again, like Ophelia, the act of maintaining this true and untwisted love means he cannot survive solely within the play, and so he must transcend the Elsinore within the narrative. He does this by outliving all the other characters, and by becoming in a roundabout way the narrator of the story. His continued existence so that he “can truly deliver” the story of the play to Fortinbras gives him the role of both audience, who saw the play and as such is able to recount its events, and writer, who can shape and form the play as he pleases. This act of telling, then, removes Horatio from being solely confined within the world of the play. Like Ophelia, he escapes, although using a more hopeful method.
Thus we see that, fundamentally, some characters do truly love in Hamlet, but their familial love is twisted and warped into something negative. Furthermore, almost all romantic and platonic love becomes utterly wiped out of existence. That being said, Horatio and Ophelia do continue to show uncorrupted love. However, this means they are unable to continue to exist in the dark and loveless world of the play, and so they must find escapes. Ophelia exits through death, Horatio by transcending his place as a character, surviving, and essentially taking on the role of playwright, by dedicating himself to retelling the story.
@called-kept you were interested in seeing this I think
Simstober Day 21: Imposter
O villain, villain, smiling, damnèd villain! My tables—meet it is I set it down That one may smile, and smile, and be a villain— At least I am sure it may be so in Denmark Pleasantview
The reason it’s so so important to me that Hamlet is a Young Boy and Not A 40 Year Old Man is the latter completely removes the huge bit of thematic and emotional continuity in the play. Mel Gibson couldn’t understand Hamlet because he was playing him as a forty year old man. But this is a coming of age story. It’s about kids and their dads and them trying and failing to be someone outside their father’s shadows-kids overwhelmed and brought down by their parents mistakes and demands—Fortinbras trying to make up for what his father lost, Ophelia and Laertes either obeying or rebelling against parental control, and the tragedy that sweeps them up in, Hamlet haunted by his dead father’s ghost. It’s about being, as Hamlet says from the beginning, too much in the “son.” Hamlet as a 40 year old man doesn’t make *as* much sense, doesn’t hit as hard, because he should be already grown up. He should be a man apart from his father, and his death would be sad yes but I have a hard time seeing it have the same desperate effect. But if you read Hamlet as a very young adult, it makes sense. You’re a kid, you’re barely grown, you’re maybe in your early twenties when all the world is shaky, you’re going to school studying philosophy trying to figure out the world, and your dad dies. Who are you then? Can you be your own person? What about when you are apparently the last living memory of your father, whom no one else seems to care about? *Were* you a good son when he was alive? Did he know you loved him? You’re alone in your grief and confused, so you grieve the harder. A ghost offers you the chance to prove you are the worthy son to a dead father like you will never have the chance to prove to your living one, and of course you’re going to be desperate for the chance-even if it means the kind of self-eradication Hamlet talks about in “erasing all the tables of his mind” so only his dead father’s commands live there. (But Oh- the things you were learning at school—your own nature—the things you were becoming outside of your father—maybe you don’t really *want* to do the things it asks of you—*you* don’t—but your father wants you to so how else can you prove yourself, prove your love and duty?) And so you have all this confusion, and on top of it you’re insanely clever but you don’t know what to do with it, you don’t want the responsibility of being a man yet and yet here it is upon you—if you can just be someone’s son though, if you can just follow what is asked of you, then maybe! Maybe you will be ok! But you are a man and you are beginning to get the first inkling of knowledge that even in obedience you are responsible for your actions, and what if the actions demanded of you are ones you don’t want to be responsible for. To act, or to play act—when play acting means no consequences. Maybe you’re not mad, but it’s nice to think you are. It means no consequences-like Ophelia, your better and worse half, drowning herself in madness and being relinquished from the responsibility of the act. Only a very emotionally stunted ungrown weird 40 year old guy would have the believable reaction of a college kid back from school to find his father dead and himself alone bearing the weight of it and having no idea what to do with himself despite being insanely clever. I don’t know it just doesn’t carry through as well! And that’s why it’s important to me that he’s got a very depressed mix of boyish innocence and noble wit. And why I’m constantly disappointed by Hamlets.
*cocks gun* About to turn your dumbass into poor Yorick.
"La muerte, el país inexplorado del que ningún viajero regresa"
Hamlet- William Shakespeare
I just wanted to show off some of the soaps I’ve made! The top is inspired by Hamlet, and the bottom is inspired by The Silver Sea in C.S. Lewis’ The Voyage of the Dawn Treader!
If anyone is interested my etsy is: https://www.etsy.com/shop/OrionSoapery?ref=profile_header
“Though this be madness, yet there is method in’t.”
Shout out to my old Hamlet essay that said the world of Hamlet fundamentally did not allow love, so all those who loved were destroyed, except for Horatio who transcended the narrative by in the final scene becoming the narrator and thus taking on the role of playwright rather than character, so escaping the loveless world by becoming bigger than it. Very galaxy brain.
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,
Or to take arms against a sea of troubles
And by opposing end them. To die—to sleep,
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to: 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep, perchance to dream—ay, there's the rub:
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause—there's the respect
That makes calamity of so long life.
For who would bear the whips and scorns of time,
Th'oppressor's wrong, the proud man's contumely,
The pangs of dispriz'd love, the law's delay,
The insolence of office, and the spurns
That patient merit of th'unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovere'd country, from whose bourn
No traveller returns, puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience doth make cowards of us all,
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry
And lose the name of action.