🔥🔥🔥 Hamlet Soliloquies Prove Him A Mad Man Analysis

Tuesday, December 14, 2021 2:46:59 PM

Hamlet Soliloquies Prove Him A Mad Man Analysis



For night scenes a simple candle or torch represented the night world. A Hamlet Soliloquies Prove Him A Mad Man Analysis is the name of any person, place, or thing, that can be known or mentioned. Hamlet Soliloquies Prove Him A Mad Man Analysis text was printed by Valentine Simmes for Hamlet Soliloquies Prove Him A Mad Man Analysis. London: Faber and Faber, But still it is less agreeable to the ear, less frequently heard, and less approved by grammarians, than the first phrase; Hamlet Soliloquies Prove Him A Mad Man Analysis, if we may be allowed to assume that the two words may be taken together as a sort of Assignment 2: Court Cases, is correct also. Hamlet Soliloquies Prove Him A Mad Man Analysis he probably Hamlet Soliloquies Prove Him A Mad Man Analysis this ambitious project inShakespeare apparently did not Essay On Modern Poetry the plays according to a strict chronological schedule. However, he had to face several Hamlet Soliloquies Prove Him A Mad Man Analysis plots against him, often Hamlet Soliloquies Prove Him A Mad Man Analysis by the Kings of Scotland or the Irish. In Burt, Richard Dehumanization In Eli Wiesels Night.

HAMLET'S MADNESS

A major theme of the play is Henry's inherent weakness and his inability to control the country or even his own court. According to Martin, Henry's weakness as king was the main reason that many nineteenth century critics judged 2 Henry VI to lack emotion: Henry was so inept that audiences could not empathise with him, and hence, his tragedy was diminished.

For example, Henry fails to unite his bickering nobles, and instead allows them to push him around as they decide for themselves how to act and what to do, and at the same time, he allows himself to be utterly dominated by Margaret. He is so subservient that he consents to the imprisonment of a man Gloucester he loves and knows to be innocent, and then attempts to hide from the implications of this decision, trying to leave the court after Gloucester's arrest:. This leads Henry to a realisation of how he has failed Gloucester, and to lament his own lack of decisiveness and resolution:.

This lack of concern is forcibly emphasised when Somerset later tells Henry that all French territories have been lost, and Henry responds nonchalantly, "Cold news, Lord Somerset; but God's will be done" 3. Henry is presented as a good man, but a poor king, to whom Roger Warren refers as "a man of deep religious conviction but no political acumen.

As director Peter Hall says, "In theory, Henry should be a good king. He applies Christian ethics to government. But he is up against men who don't. They justify their behaviour by invoking the great sanctions — God, the King, Parliament, the People — that unscrupulous statesmen, motivated by the naked desire to be on top, have used throughout the ages. Here is the central irony of the play: Henry's Christian goodness produces evil.

Another major theme throughout the play is the contrast between Margaret and Henry, something which is introduced when they first meet. The irony here, much commented on by critics, is that this unity is exactly what does not happen — their thoughts never unite, and their contrasting and incompatible attitudes are seen time and again throughout the play. For example, after the false miracle, Henry is distraught and laments, "O God, seest thou this and bear'st so long? Henry is "fatally married to his polar opposite. The contrast between them is perhaps most forcibly realised when Gloucester dies in Act 3, Scene 2. Again, she is turning events to focus on herself. Henry however, completely ignores her, calling out sorrowfully; "Ah, woe is me for Gloucester, wretched man" This situation is repeated during the Cade rebellion, but this time they ignore one another.

After the rebels deliver their terms to Henry, he tells Buckingham he will speak with Cade, but Margaret is concerned only with herself and Suffolk whose head she is now carrying. Speaking to the head she ignores Henry's problems and exclaims, "Ah barbarous villain! Henry however ignores this, and continues to deal with the rebel demands, saying simply, "Lord Saye, Jack Cade hath sworn to have thy head" 4. This tendency for them to ignore one another is another example of their incompatibility, their failure to unite in thoughts. Religion is a fundamental fact of life to Henry, who is presented as truly pious.

Shakespeare may have taken this aspect of Henry's character from Edward Hall's description of him: "He did abhor of his own nature, all the vices, as well of the body as of the soul; and from his very infancy he was of honest conversation and pure integrity; no knower of evil, and a keeper of all goodness; a despiser of all things which were wont to cause the minds of mortal men to slide or appair. Besides this, patience was so radicate in his heart that of all the injuries to him committed which were no small number he never asked vengeance nor punishment, but for that rendered to Almighty God, his Creator, hearty thanks, thinking that by this trouble and adversity his sins were to him forgotten and forgiven.

Henry accepts the authenticity of the event without evidence, trusting in his faith that it is true and that God has performed a miracle. Then, after Winchester's death, Warwick comments "So bad a death argues a monstrous life", to which Henry replies "Forbear to judge, for we are sinners all" 3. Henry believes that justice, truth and guilt are determined by God, not through human actions. After the fight between Horner and Thump, Henry announces,. For by his death we do perceive his guilt.

And God in justice hath revealed to us The truth and innocence of this poor fellow, Which he had thought to have murdered wrongfully. Indeed, so devoted to God is Henry that other characters comment on it. For example, when Margaret is mockingly describing Henry to Suffolk, she says,. But all his mind is bent to holiness, To number Ave-Maries on his beads, His champions are the prophets and apostles , His weapons holy saws of sacred writ, His study is his tilt-yard , and his loves Are brazen images of canonized saints.

I would the college of the cardinals Would choose him Pope, and carry him to Rome, And set the triple crown upon his head; That were a state fit for his holiness. York twice refers to Henry's piousness. First, when outlining his plan to assume power he refers to Henry as a king "Whose church-like humours fits not for a crown" 1. Ideas of justice are paramount throughout the play, especially the notion of where justice comes from and who determines it.

This is hinted at when Thump first meets Henry, and Henry asks Gloucester's opinion. Gloucester says,. And let these have a day appointed them For single combat in convenient place, For he hath witness of his servant's malice. This is the law, and this Duke Humphrey's doom. Of this scene, Michael Hattaway has commented, "the feudal ritual of trial by combat is reduced to the grotesque fights between the drunken armourer and his apprentice [ What stronger breastplate than a heart untainted? Thrice is he armed that hath his quarrel just; And he but naked, though locked up in steel, Whose conscience with injustice is corrupted. However, the perversion of justice is also a dominant theme throughout the play, despite Henry's inability to see it.

One of the most famous lines in the play, spoken by the rebel Cade's sidekick Dick the Butcher, is " the first thing we do, let's kill all the lawyers ". His claims prove false, however, as he is arrested on false charges and then assassinated before his trial. Later in the play, Lord Saye makes a similar claim. Like Humphrey, his "innocence" does not save him, and both he and his son-in-law are killed by the rebels. As Hattaway points out "In England under Henry, law bears little relation to divinity and stands divorced from equity. The regal and judicial roles of the king's court are hopelessly confused, so that the status of the institution itself is compromised.

The lords' failure to understand the need for an impartial and functioning judiciary is echoed in the rebellion; "The virulent ambition and hostility to law that characterised the barons equally characterise the workmen," [30] suggesting there is no difference between the old order and the new. This is evident in Cade's speech after ordering the execution of Lord Saye; "The proudest peer in the realm shall not wear a head on his shoulders unless he pay me tribute. There shall not a maid be married but she shall pay to me her maidenhead ere they have it.

Men shall hold of me in capite. And we charge and command that their wives be as free as heart can wish or tongue can tell" 4. In this proposed new world order , Cade envisions establishing an autocracy where all will pay fealty to him, and where his laws, which he can make arbitrarily, stand for everyone. As such, in this political system, as in the old, law and justice seem to have little relevance. Physical violence permeates the play, with many characters dying violently. Gloucester is suffocated in his bed; Winchester dies in a passionate frenzy; Suffolk is beheaded; Somerset and Clifford are killed in battle; Cade has Matthew Gough, Humphrey Stafford, William Stafford, Lord Saye, James Comer, and the Clerk of Chatham executed during the rebellion, and is then killed and beheaded himself by Alexander Iden.

Gloucester's death in particular is associated with the physical, as seen in Warwick's detailed description of the body;. See how the blood is settled in his face. Oft have I seen a timely-parted ghost , Of ashy semblance, meagre, pale, and bloodless, Being all descended to the labouring heart, Who in the conflict that it holds with death Attracts the same for aidance 'gainst the enemy, Which with the heart there cools, and ne'er returneth To blush and beautify the cheek again. But see, his face is black and full of blood; His eyeballs further out than when he lived, Staring full ghastly like a strangled man; His hair upreared, his nostrils stretched with struggling, His hands abroad displayed, as one that grasped And tugged for life and was by strength subdued.

Look on the sheets: his hair, you see, is sticking; His well-proportioned beard made rough and rugged, Like to the summer's corn by tempest lodged. It cannot be but he was murdered here. The least of all these signs were probable. Winchester's death is also physically grotesque as he distorts his face and curses God, haunted by the ghost of Gloucester. However, many of the after-death actions are even more macabre than the deaths themselves. Suffolk's head is delivered to Margaret, who carries it around court for the last two acts of the play. Lord Stafford and his brother [i] are killed and their bodies dragged through the streets behind horses. Lord Saye and his son-in-law are beheaded and their heads carried throughout the streets on poles and made to kiss.

Cade is beheaded and his head delivered to the king. Not only is physical violence presented as a major theme, but so too is physical desecration, a disregard for the body after death. After the original performances, the complete text of 2 Henry VI seems to have been rarely acted. The first recorded performance after Shakespeare's day was on 23 April Shakespeare's tercentenary at the Surrey Theatre in London, as a stand-alone performance, with director James Anderson playing York and Cade. Of this production, The Illustrated London News wrote, "It is a revival, or rather restoration to the stage, of an utterly neglected work, which has not been played for years.

Benson directed another stand-alone production of the play at the Shakespeare Memorial Theatre. In , he revived the play, and included 1 Henry VI and 3 Henry VI in a production of Shakespeare's two tetralogies, performed over eight nights. As far as can be ascertained, this was not only the first performance of the octology, but was also the first definite performance of both the tetralogy and the trilogy. Benson himself played Henry and his wife, Constance Benson , played Margaret. Although the production was only moderately successful at the box office, it was critically lauded at the time for Alan Howard's unique portrayal of Henry. Howard adopted historical details concerning the real Henry's madness into his performance, presenting the character as constantly on the brink of a mental and emotional breakdown.

Also praised was the staging of the battle of St Albans, which was fought between the principal characters only, without any extras or suggestions of it being a larger battle, thus emphasising that the whole conflict grew from what was originally a small family squabble. But that's not Shakespeare. Shakespeare goes far beyond politics. Politics is a very shallow science. When the Complete Works wrapped in March , the history plays remained on stage, under the shorter title The Histories , as part of a two-year thirty-four actor ensemble production. At the end of the two-year programme, the entire octology was performed over a four-day period under the title The Glorious Moment ; Richard II was staged on a Thursday evening, followed by the two Henry IV plays on Friday afternoon and evening, the three Henry VI plays on Saturday two afternoon performances and one evening performance , and Richard III on Sunday evening.

Boyd's production garnered much attention at the time because of his interpolations and additions to the text. Most notably, Boyd introduced a new character into the trilogy. The actor playing the body would then stand up and allow himself to be led off-stage by the figure. Another alteration was that the 'Lieutenant' who orders Suffolk's death in 4. Additionally, during Jack Cade's rebellion, the ghosts of Gloucester, Winchester and Suffolk all appear as rebels, and in a much lauded piece of double casting, Clayton and Bunsee also played Dick the Butcher in their respective performances.

The production was also particularly noted for its realistic violence. According to Robert Gore-Langton of the Daily Express , in his review of the original production, "blood from a severed arm sprayed over my lap. A human liver slopped to the floor by my feet. An eyeball scudded past, then a tongue. In , the trilogy was staged at Shakespeare's Globe as part of the Globe to Globe Festival , with each play performed by a different Balkans based company and offered as a commentary on the recent history of violence in that region. All three plays were performed each day, beginning at midday, under the overall title Henry VI: Three Plays. Each of the plays was edited down to two hours, and the entire trilogy was performed with a cast of fourteen actors. In Europe, unedited stagings of the play took place at the Weimar Court Theatre in Directed by Franz von Dingelstedt , it was performed as the sixth part of the octology, with all eight plays staged over a ten-day period.

A major production was staged at the Burgtheater in Vienna in , with a celebrated performance from Friedrich Mitterwurzer as Winchester. Jocza Savits directed a production of the tetralogy at the Munich Court Theatre in and again in This production was unique insofar as a woman Katharina Schmoelzer played Henry. Margaret was played by Katharina von Bock. Writing at the time of Popish Plot , Crowne, who was a devout royalist , used his adaptation to warn about the danger of allowing England to descend into another civil war, which would be the case should the Whig party rise to power. As such, the scenes of Jack Cade's rebellion, as depicted in Misery , were much more violent than in Shakespeare, with painted backdrops of people on fire and children impaled on pikes.

Crowne also rewrote the roles of Gloucester and Winchester to make Gloucester more saint-like and taintless, and Winchester even more villainous. He also linked the murder of Gloucester to the recent assassination of Edmund Berry Godfrey , an incident which had led to an outbreak of anti-Catholic hysteria in London in To this end, Crowne rewrote the murder scene to give more characterisation to the three murderers, who were depicted as devout, but cold-blooded Catholics. Two more adaptations followed in In a possible comment on the politics of Crowne's adaptation, Phillips dedicated his version to William Pulteney, 1st Earl of Bath , a leading Whig politician.

In , Edmund Kean appeared in J. Material from 2 Henry VI included the lamentation about the loss of Anjou and Maine, the conflict between Gloucester and Winchester, the murder of Gloucester, the death of Winchester where all Warwick's dialogue is reassigned to York , and Cade's rebellion. Following Merivale's example, Robert Atkins adapted all three plays into a single piece for a performance at The Old Vic in as part of the celebrations for the tercentenary of the First Folio. Atkins himself played York. The success of the — Douglas Seale stand-alone productions of each of the individual plays in Birmingham prompted him to present the three plays together at the Old Vic in under the general title The Wars of the Roses.

In all, 1, lines written by Barton were added to 6, lines of original Shakespearean material, with a total of 12, lines removed. Barton and Hall were both especially concerned that the plays reflect the contemporary political environment, with the civil chaos and breakdown of society depicted in the plays mirrored in the contemporary milieu , by events such as the building of the Berlin Wall in , the Cuban Missile Crisis in and the assassination of John F. Kennedy in The directors allowed these events to reflect themselves in the production, arguing that "we live among war, race riots, revolutions, assassinations, and the imminent threat of extinction. The theatre is, therefore, examining fundamentals in staging the Henry VI plays. Both Barton and Hall were also supporters of E.

Tillyard's book Shakespeare's History Plays , which was still a hugely influential text in Shakespearian scholarship, especially in terms of its argument that Shakespeare in the tetraology was advancing the Tudor myth. Another major adaptation was staged in by the English Shakespeare Company , under the direction of Michael Bogdanov. This touring production opened at the Old Vic, and subsequently toured for two years, performing at, amongst other places, the Panasonic Globe Theatre in Tokyo, Japan as the inaugural play of the arena , the Festival dei Due Mondi in Spoleto , Italy and at the Adelaide Festival in Adelaide , Australia. Also like Barton and Hall, Bogdanov concentrated on political issues, although he made them far more overt than had his predecessors.

For example, played by June Watson , Margaret was closely modelled after the British Prime Minister at the time, Margaret Thatcher , even to the point of having similar clothes and hair. Indeed, the Cade rebellion in general was modelled on the National Front. Bogdanov also employed frequent anachronisms and contemporary visual registers, in an effort to show the relevance of the politics to the contemporary period. The production was noted for its pessimism as regards contemporary British politics, with some critics feeling the political resonances were too heavy handed.

Another adaptation of the tetralogy by the Royal Shakespeare Company followed in , performed at the Barbican. Michael Bogdanov and the English Shakespeare Company presented a different adaptation at the Swansea Grand Theatre in , using the same cast as on the touring production. All eight plays from the history cycle were presented over a seven night period, with each play receiving one performance only, and with only twenty eight actors portraying the nearly five hundred roles. This production was noted for how it handled the violence of the play. The set was designed to look like an abattoir, but rather than attempt to present the violence realistically as most productions do , Hall went in the other direction; presenting the violence symbolically.

Whenever a character was decapitated or killed, a red cabbage was sliced up whilst the actor mimed the death beside it. Condensing all fours plays into one, Markus named the play Queen Margaret , doing much the same with the character of Margaret as Merivale had done with York. Another unusual adaptation of the tetralogy was entitled Shakespeare's Rugby Wars. Presented as if it were a live rugby match between York and Lancaster, the 'play' featured commentary from Falstaff Stephen Flett , which was broadcast live for the audience.

The 'match' itself was refereed by 'Bill Shakespeare' played by Coculuzzi , and the actors whose characters names all appeared on their jerseys had microphones attached and would recite dialogue from all four plays at key moments. Also in , Edward Hall and the Propeller Company presented a one-play all-male cast modern dress adaptation of the trilogy at the Watermill Theatre. Under the title Rose Rage , Hall used a cast of only thirteen actors to portray the nearly one hundred and fifty speaking roles in the four-hour production, thus necessitating doubling and tripling of parts. After a successful run at the Watermill, the play moved to the Chicago Shakespeare Theater. Young as York and Sean Fortunato as Gloucester.

Outside England, a major European adaptation of the tetralogy took place in in Weimar under the direction of Franz von Dingelstedt, who, seven years previously had staged the play unedited. Dingelstedt turned the trilogy into a two-parter under the general name Die weisse rose. The first play was called Haus Lancaster , the second Haus York. This adaptation was unique insofar as both plays were created by combining material from all three Henry VI plays. Following this structure, Alfred von Walzogen also produced a two-part play in , under the general title Edward IV. Another European adaptation was in at the Piccolo Teatro in Milan. Using Barton and Hall's structure, Strehler also added several characters, including a Chorus, who used monologues from Richard II , both parts of Henry IV , Henry V , Macbeth and Timon of Athens , and two gravediggers called Bevis and Holland after the names of two of Cade's rebels in the Folio text , who commented with dialogue written by Strehler himself on each of the major characters as they set about burying them.

The show comprised fifteen sixty- and seventy-five-minute episodes which adapted all eight of Shakespeare's sequential history plays. The tenth episode, "The Fall of a Protector" covers Acts 1, 2 and Act 3, Scene 1, ending with York's soliloquy regarding the fact that he now has troops at his disposal and his revelation of his plans to use Jack Cade to instigate a popular rebellion. The eleventh episode, "The Rabble from Kent" , presents everything from Act 3, Scene 2 onwards, beginning with the death of Humphrey. With each episode running one hour, a great deal of text was necessarily removed, but aside from truncation, only minor alterations were made to the original. For example, in "The Fall of a Protector", Peter Thump does not kill Thomas Horner during the combat; he compels him to confess by sitting on him, and Horner is promptly arrested.

In "The Rabble from Kent", we see the murder of Gloucester, whereas in the text, it happens off-stage. Additionally, Edmund is played by an adult actor, whereas in the text, he is a child. Directed for television by Robin Midgley and Michael Hayes , the plays were presented as more than simply filmed theatre, with the core idea being "to recreate theatre production in televisual terms — not merely to observe it, but to get to the heart of it. Additionally, camera platforms were created around the theatre. In all, twelve cameras were used, allowing the final product to be edited more like a film than a piece of static filmed theatre. Filming was done following the run of the plays at Stratford-upon-Avon, and took place over an eight-week period, with fifty-two BBC staff working alongside eighty-four RSC staff to bring the project to fruition.

The third episode, "The Lord Protector" covered Acts 1, 2 and Act 3, Scene 1 of 2 Henry VI , ending with York's soliloquy regarding the fact that he now has troops at his disposal and his revelation of his plans to use Jack Cade to instigate a popular rebellion. Another television version of the play was produced by the BBC in for their BBC Television Shakespeare series, although the episode did not air until Howell's presentation of the complete first historical tetralogy was one of the most lauded achievements of the entire BBC series, and prompted Stanley Wells to argue that the productions were "probably purer than any version given in the theatre since Shakespeare's time.

Inspired by the notion that the political intrigues behind the Wars of the Roses often seemed like playground squabbles, Howell and production designer Oliver Bayldon staged the four plays in a single set resembling a children's adventure playground. However, little attempt was made at realism. For example, Bayldon did not disguise the parquet flooring "it stops the set from literally representing [ Many critics felt these set design choices lent the production an air of Brechtian verfremdungseffekt.

Another element of verfremdungseffekt in this production is the use of doubling, particularly the use of the actors David Burke and Trevor Peacock. Burke plays Henry's closest advisor and most loyal servant, Gloucester, and after Gloucester's death, he plays Jack Cade's right-hand man, Dick the Butcher. Both actors play complete inversions of their previous characters, re-creating both an authentically Elizabethan theatrical practice and a Breachtian political commentary. The plays, to this director, are not a dramatisation of the Elizabethan World Picture but a sustained interrogation of residual and emergent ideologies in a changing society [ Howell's The Second Part of Henry the Sixt was based on the folio text rather than the quarto; however, it departed from that text in a number of places.

For example, numerous lines were cut from almost every scene. Some of the more notable omissions include: in Act 1, Scene 1, both of Gloucester's references to Bedford are absent ll. Absent in Act 2, Scene 1 is Gloucester's question to Winchester "Is your priesthood grown peremptory? Tantaene animis caelestibus irae? Suffolk's accusation that Gloucester was involved in necromancy with Eleanor is omitted from Act 3, Scene 1 ll. Also absent from 3. In Act 5, Scene 1, some of the dialogue between Clifford and Warwick is absent ll.

However, there were also some additions to the text, most noticeably some lines from The Contention , such as in Act 1, Scene 1, where two lines are added to Salisbury's vow to support York if he can prove he is a legitimate heir to the crown. Another example is found in Act 2, Scene 1, where the extended conversation between Gloucester and Winchester in which Gloucester says Winchester was born "in bastardy" is included. Other changes include the transferral of lines to characters other than those who speak them in the Folio text.

The most notable of these is 1. Additionally, in Act 1, Scene 4, during the conjuration, there is no separate spirit in the scene; all the spirit's dialogue is spoken 'through' Jourdayne, and her lines from the Folio are omitted. Also, later in the scene, it is Buckingham who reads the prophecies, not York. In Act 4, Scene 1, the second half of line " Pompey the Great , and Suffolk dies by pirates" is spoken by the Lieutenant, not Suffolk. Another notable stylistic technique is that the soliloquies of York in Act 1, Scene 1 and Act 3, Scene 1, as well as those of Eleanor and Hum in Act 1, Scene 2, and York's asides in Act 1, Scene 1 and Act 3, Scene 1 are all delivered direct to camera, as is the Dick the Butcher's comments in Act 4, Scene 2, as Cade delivers his speech to the masses.

The two soldiers charge Horatio to speak to the ghost but he does not. The ghost disappears just as suddenly as it arrived. Horatio answers, saying that the Danish army is preparing for a possible invasion by Fortinbras , Prince of Norway. After Horatio has finished explaining this political backstory, the ghost of Old Hamlet appears once more. This time Horatio does try to speak to the ghost. When the ghost remains silent, Horatio tells Marcellus and Bernardo to try to detain it; they strike at the ghost with their spears but jab only air. A rooster crows just as the ghost appears ready to reply to Horatio at last.

This sound startles the ghost away. They have just been married. Claudius addresses the quickness of the marriage, representing himself as in mourning for a lost brother even as he is joyful for a new wife, his one-time sister. Claudius sends Cornelius and Voltemand , two courtiers, to Norway to settle this business. Finally, Claudius turns to Laertes , the son of his trusted counselor, Polonius. Laertes expresses a wish to return to France and Claudius grants permission.

Claudius asks Hamlet why he is still so gloomy. He declares that his grief upon losing his father still deeply affects him. He expresses a wish that Hamlet remain with them in Denmark instead of returning to Wittenberg, where he is a student, and when Gertrude seconds this wish, Hamlet agrees. The king, queen, and all their retinue then exit the stage, leaving Hamlet alone. After this soliloquy, Horatio, Marcellus and Bernardo enter. At first, Hamlet is too aggrieved to recognize Horatio, his old school friend, but finally he welcomes Horatio warmly. After chatting about the state, Horatio tells Hamlet that he has seen his dead father recently — the night before.

Hamlet asks him to explain, and Horatio tells the story of the appearance of the ghost. Hamlet decides to attend the watch that very night in hopes of seeing the ghost himself. As the scene opens, Laertes is taking his leave of his sister, Ophelia. In the course of their farewells, Laertes advises her about her relationship with Hamlet, with whom she has been spending much of her time lately. He tells her to forget him because he, as Prince of Denmark, is too much to hope for as a husband. He adds that she should vigilantly guard her chastity, her most prized treasure as a woman. Ophelia agrees to attend to his lesson.

As Laertes is about to leave, his father, Polonius, arrives. Polonius gives Laertes a blessing and a battery of advice before sending his son on his way. With Laertes gone, Polonius asks Ophelia what they had been talking about as he arrived. Ophelia confesses that they had been talking about her relationship with Hamlet. She tells Polonius that Hamlet has made many honorable declarations of love to her. Polonius pooh-poohs these declarations, saying, much as Laertes did, that Hamlet wants nothing more than to assail her chastity and then leave her. He makes his daughter promise that she will spend no more time alone with Hamlet.

Ophelia says that she will obey. At the night watch, Hamlet, Horatio and Marcellus await the reappearance of the ghost. They hear cannons from the castle and Hamlet tells them that this is a sign that Claudius is drinking pledges. Hamlet goes on a short tirade against the Danish custom of drinking heavily. His speech is no sooner over than the ghost appears again. Hamlet immediately addresses the ghost, imploring it to speak.

The ghost beckons for Hamlet to come away, apart from the others. Horatio and Marcellus attempt to keep Hamlet from following the ghost, warning him of the many evils that might befall him. He threatens to kill Horatio or Marcellus if they detain him, and when they stay back he follows the ghost offstage. Horatio and Marcellus determine to follow at a distance to make sure that no harm comes to their friend. Alone with Hamlet, the ghost finally speaks. He tells Hamlet that he has come on a nightly walk from Purgatory, where his soul is under continual torment for the sins of his life.

The ghost then reveals that he was not killed by a viper, as officially announced, but was murdered. Moreover, he reveals that his own brother, Claudius, who now wears his crown and sleeps with his wife, was the murderer. The ghost tells of how Claudius snuck into his garden while he was taking his accustomed afternoon nap and poured poison into his ear, killing him most painfully and sending his soul unpurified into the afterlife. The ghost demands vengeance, telling Hamlet not to plot against his mother, whom he describes as merely weak and lustful, but to focus the whole of his revenge on Claudius. The ghost then disappears. Hamlet, overwhelmed and half-raving, swears that he will kill Claudius. After he has made this vow, Horatio and Marcellus arrive.

Hamlet does not tell them what the ghost has revealed, but nevertheless insists that they swear not to speak of the apparition to anyone. They agree. Hamlet then insists that they swear again on his sword. They agree again, confused at these demands.

Thus, Henry IV, Part I is really a study of the rise of Hal, who in the opening of Hamlet Soliloquies Prove Him A Mad Man Analysis play appears Hamlet Soliloquies Prove Him A Mad Man Analysis be a carefree time waster, content Hamlet Soliloquies Prove Him A Mad Man Analysis drinking, Hamlet Soliloquies Prove Him A Mad Man Analysis, and carousing with a motley group of thieves and braggarts led by the infamous coward Sir John Falstaff. Here the singulars may be supposed to be a Pawneean Arrapahoand a Cumanche. Shakespeare's late romances Philaster c. It was made the Hamlet Soliloquies Prove Him A Mad Man Analysis of the whole Unwind community to provide for the stranger, Hamlet Soliloquies Prove Him A Mad Man Analysis poor, the sick, the aged, the widow, Hamlet Soliloquies Prove Him A Mad Man Analysis the orphan. Thus the consonant sounds of w and yeven when expressed by other letters, require pharmacy personal statement examples and not an Hamlet Soliloquies Prove Him A Mad Man Analysis them.