Language in Hamlet
‘Hamlet’ Evaluation-Language
While ‘Hamlet’ reflected its era, such as the playwright’s treatment of the psyche, supernatural and afterlife, it was also a highly innovative tragedy in its representation of humanist and existentialist ideas. Aristotelian elements are also used in unconventional ways with Hamlet challenging the classic Greek idea of using a bold and unhesitating heroic protagonist. Retribution drives the complex 5 part plot structure, enhanced by being seen seen through the father/son lens of Hamlet, Laertes and Fortinbras. Shakespeare gives his tragic protagonist half the play’s total number of lines, and appears in thirteen of the twenty six scenes. The avenger Prince controls the play and is almost constantly on stage, except for a brief time before the duel scene.
His psychological development is traced through the major soliloquies which shape audience perceptions of his world and the corruption within it. He castigates himself, calling himself in unmanly terms as "whore" and a "drab". In general terms all the soliloquies are dominated by variously phrased questions relating to problems both tangible and philosophical. Death and the afterlife are frequently thought about while the interrogative tone gives the play a strangely modern feel with the search for truth and meaning. Verisimilitude pervades with text with the dramatic dichotomy of guilt and innocence, truth and falsehood, sanity and madness.
Hamlet’s language, especially the introspective ponderings of his soliloquies, exposes and ‘reveals the inner workings of his mind’ and feelings that he must keep secret from those around him. Disgust and pessimism are voiced in the first soliloquy via his belief that ‘this world ... ‘tis an unweeded garden that grows to seed’ while in ‘to be or not to be’ soliloquy, his uncertainty about life and death predominates, questioning ‘Whether ‘tis nobler in the mind to suffer the slings and arrows of outrageous fortune, or take arms against a sea of troubles.’ His solitariness is immediately apparent to an audience from the very first scene where is appearance is depicted in strongly visual terms, dressed in ‘solemn black’ and sitting apart. Soliloquies become his natural medium as he draws further and further into himself. What they reveal becomes paramount as a means of tracing his development in terms of motivation, thoughts, behaviour and feelings. They reveal increasingly disturbed and alienated state of mind with a dramatic contrast between his public statements, which are often short, jarring or ambiguous, and the anguished outpouring of his beliefs and emotions in the soliloquies.
A nimble and flexible mind is revealed in his language, showing an often humorous, imaginative, lucidity of thought. Unusual twists of thought are evident as well as a delight in wordplay,‘A little more than kin and less than kind’. Sarcastic quips, wit and puns reveal Hamlet’s character, his intellect and his ability to outsmart people as well as revealing his social context. Classical allusions, rich imagery and a complex language structure are language techniques that express his intelligence and sophistication. Poetry heightens the brilliant uniqueness of Hamlet and helps to escalate the unfolding tragedy so that he becomes representative of humanity.
Language Focus - Soliloquies
Soliloquies are not ‘voice-overs’ nor are they private, secret musings. Rather they function as one-sided conversations between the protagonist and the audience. Soliloquies become hamlet’s natural medium as he draws further and further into himself. They provide an insight into his increasingly disturbed and alienated view of the world. There is a dramatic contrast between his public statements, which are often short, jarring or ambiguous, and the anguished outpouring of his beliefs and emotions in the soliloquies.
Hamlet’s language demonstrates a nimble and flexible mind and an often humorous, imaginative, lucidity of thought. He delights in unusual twists of thought and perceives unexpected resemblances between diverse objects and ideas. Classical allusions, rich imagery and a complex language structure are language techniques that express his intelligence and sophistication. Poetry heightens the brilliant uniqueness of Hamlet and helps to escalate the unfolding tragedy so that he becomes representative of humanity.
Hamlet gives SEVEN major soliloquies:
‘O that this too sullied flesh would melt’ (1.2.129-159) after Mother’s plea
‘O all you host of heaven! O earth! what else/’ ( 1.5.92-111) after the ghost
‘O what a rogue and peasant slave am I!’ (2.2.549-607)after Phyrrus speech
‘To be, or not to be, that is the question’ ( 3.1.56-89)beginning nunnery scene
‘Tis now the very witching time of night’ (3.3.380-392)after moustrap
‘Now might I do it pat, now a’ is a-praying’ ( 3.3.73-96)Claudius at prayer
‘How all occasions do inform against me’ (4.4.32-66)on the way to England
The soliloquies divide into three pairs and one "commentary" which refers to each sentiment in the pairs, as follows:
1 & 2 are constructed round the ideas of memory of the past
3 & 4 are the present situation and his conscience
5 & 6 are his future intentions to kill and extract the vengeance.
7 draws threads from all the others
While ‘Hamlet’ reflected its era, such as the playwright’s treatment of the psyche, supernatural and afterlife, it was also a highly innovative tragedy in its representation of humanist and existentialist ideas. Aristotelian elements are also used in unconventional ways with Hamlet challenging the classic Greek idea of using a bold and unhesitating heroic protagonist. Retribution drives the complex 5 part plot structure, enhanced by being seen seen through the father/son lens of Hamlet, Laertes and Fortinbras. Shakespeare gives his tragic protagonist half the play’s total number of lines, and appears in thirteen of the twenty six scenes. The avenger Prince controls the play and is almost constantly on stage, except for a brief time before the duel scene.
His psychological development is traced through the major soliloquies which shape audience perceptions of his world and the corruption within it. He castigates himself, calling himself in unmanly terms as "whore" and a "drab". In general terms all the soliloquies are dominated by variously phrased questions relating to problems both tangible and philosophical. Death and the afterlife are frequently thought about while the interrogative tone gives the play a strangely modern feel with the search for truth and meaning. Verisimilitude pervades with text with the dramatic dichotomy of guilt and innocence, truth and falsehood, sanity and madness.
Hamlet’s language, especially the introspective ponderings of his soliloquies, exposes and ‘reveals the inner workings of his mind’ and feelings that he must keep secret from those around him. Disgust and pessimism are voiced in the first soliloquy via his belief that ‘this world ... ‘tis an unweeded garden that grows to seed’ while in ‘to be or not to be’ soliloquy, his uncertainty about life and death predominates, questioning ‘Whether ‘tis nobler in the mind to suffer the slings and arrows of outrageous fortune, or take arms against a sea of troubles.’ His solitariness is immediately apparent to an audience from the very first scene where is appearance is depicted in strongly visual terms, dressed in ‘solemn black’ and sitting apart. Soliloquies become his natural medium as he draws further and further into himself. What they reveal becomes paramount as a means of tracing his development in terms of motivation, thoughts, behaviour and feelings. They reveal increasingly disturbed and alienated state of mind with a dramatic contrast between his public statements, which are often short, jarring or ambiguous, and the anguished outpouring of his beliefs and emotions in the soliloquies.
A nimble and flexible mind is revealed in his language, showing an often humorous, imaginative, lucidity of thought. Unusual twists of thought are evident as well as a delight in wordplay,‘A little more than kin and less than kind’. Sarcastic quips, wit and puns reveal Hamlet’s character, his intellect and his ability to outsmart people as well as revealing his social context. Classical allusions, rich imagery and a complex language structure are language techniques that express his intelligence and sophistication. Poetry heightens the brilliant uniqueness of Hamlet and helps to escalate the unfolding tragedy so that he becomes representative of humanity.
Language Focus - Soliloquies
Soliloquies are not ‘voice-overs’ nor are they private, secret musings. Rather they function as one-sided conversations between the protagonist and the audience. Soliloquies become hamlet’s natural medium as he draws further and further into himself. They provide an insight into his increasingly disturbed and alienated view of the world. There is a dramatic contrast between his public statements, which are often short, jarring or ambiguous, and the anguished outpouring of his beliefs and emotions in the soliloquies.
Hamlet’s language demonstrates a nimble and flexible mind and an often humorous, imaginative, lucidity of thought. He delights in unusual twists of thought and perceives unexpected resemblances between diverse objects and ideas. Classical allusions, rich imagery and a complex language structure are language techniques that express his intelligence and sophistication. Poetry heightens the brilliant uniqueness of Hamlet and helps to escalate the unfolding tragedy so that he becomes representative of humanity.
Hamlet gives SEVEN major soliloquies:
‘O that this too sullied flesh would melt’ (1.2.129-159) after Mother’s plea
‘O all you host of heaven! O earth! what else/’ ( 1.5.92-111) after the ghost
‘O what a rogue and peasant slave am I!’ (2.2.549-607)after Phyrrus speech
‘To be, or not to be, that is the question’ ( 3.1.56-89)beginning nunnery scene
‘Tis now the very witching time of night’ (3.3.380-392)after moustrap
‘Now might I do it pat, now a’ is a-praying’ ( 3.3.73-96)Claudius at prayer
‘How all occasions do inform against me’ (4.4.32-66)on the way to England
The soliloquies divide into three pairs and one "commentary" which refers to each sentiment in the pairs, as follows:
1 & 2 are constructed round the ideas of memory of the past
3 & 4 are the present situation and his conscience
5 & 6 are his future intentions to kill and extract the vengeance.
7 draws threads from all the others