GERTRUDE, queen of Denmark, and mother to Hamlet. . Dared to the combat; in which our valiant Hamlet-- . For they are actions that a man might play. Flourish. [Enter Claudius, King of Denmark, Gertrude the Queen, Hamlet, Polonius, Laertes and his sister Ophelia, For they are actions that a man might play;. The New Folger Editions of Shakespeare's plays, which are the basis for the texts realized . To confirm Claudius's guilt, Hamlet arranges for a play that mimics.

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have trusted the. Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly .. play is a debased adaptationof Shakespeare's Hamlet in its earliest form. The Tragedy of Hamlet, Prince of Denmark is a tragedy written by William the play dramatizes the revenge Prince Hamlet exacts on his uncle Claudius for. Visit this William Shakespeare site including the full online text and script of his famous play Hamlet. Educational online resource for the William Shakespeare.

II, ii. Hamlet is immediately skeptical about their surprise visit. When Polonius approaches Hamlet, Hamlet answers his questions although he believes Polonius to be a foolish old man. When a group of players arrives at the Danish court to entertain, Hamlet arranges for them to perform The Murder of Gonzago with the addition of lines Hamlet has written.

Hamlet observes that Claudius is visibly upset by the play. Polonius, however, is eavesdropping behind a wall tapestry. Meanwhile, Hamlet sends word to Horatio that he has been taken prisoner by pirates who have returned him to Denmark and asks Horatio to join him IV, vi.

The Tragedy of Hamlet, Prince of Denmark

In order to remove Hamlet as a threat, Claudius now plans an exhibition duel in which Laertes will use a sword tipped with poison IV, vii. Hamlet seals the fate of Rosencrantz and Guildenstern by substituting another letter in the envelope which originally contained his own death orders, requesting that the King of England put them to death V, ii.

Not only does Claudius poison the tip of the sword, he also offers Hamlet a drink from a poison cup. Instead, Gertrude drinks from the cup and swoons from the effect of the poison, her dying words warning Hamlet of the plot against him. As the duel progresses, Laertes and Hamlet inadvertently exchange swords during a scuffle; consequently, both are mortally wounded, although Hamlet manages to fatally wound Claudius as well.

As the play closes, Fortinbras arrives, victorious over Poland, and the dying Hamlet names him as the new king. Fortinbras pays tribute to Hamlet and arranges for an appropriate burial. In the plays of the early Greeks, the tragic hero was a noble man who rose to the heights of success only to be plummeted to defeat and despair by his own tragic flaw, or hamartia.

The plot structure in these early tragedies was relatively straightforward; the motive of the dramatist was to elicit pity and terror from the audience through empathy with the tragic hero. What once had been a relatively simple form was gradually altered by playwrights to allow for more depth in characterization, more flexibility in plot structure, and the element of comic relief.

He is a nobleman, revered by his countrymen, who strives to alter the world around him. Ultimately, he must forfeit his own life to see justice done. More detailed information about Elizabethan tragedy can be found in the Introduction by Edward Hubler in the Signet Classic edition of Hamlet. The basic plot was found in ancient stories which eventually made their way to Scandinavia, specifically Denmark. Barnet also includes more general information about Shakespeare, the Elizabethan theater, and the various texts of Hamlet.

William Shakespeare Biography

Suggested teaching strategies utilizing this information are included in the activities for use before reading the play. A richness in imagery and an ability to tap the depths of meaning in every word make the reading of a Shakespearean play more than memorable. Students who read Hamlet after reading other plays by Shakespeare have often previously studied Elizabethan language and have some awareness of the changes which have taken place in word meaning and usage over the centuries.

This background should serve them well as they become involved in the power of the language of Hamlet. Students can be divided into groups, each group assigned a different act and instructed to locate as many references to decay and corruption as possible. Students should then explore the context of these references and determine to what extent these specific images enhance the overall meaning of the play.

An activity such as this will sometimes necessitate a review of figurative language, the terminology and the purpose of literary devices such as symbol, metaphor, simile, etc. Teachers should assess the extent to which students need such a review prior to assigning this group activity.

Groups should share their findings with the class, with all students noting and discussing the pattern of these images as they recur throughout the play.

Structure group research activities devoted to the study of Elizabethan language, its unusual conventions and forms. Students can build on prior knowledge or begin new investigations. Students should be challenged to listen and watch for these allusions in all forms of media, in the language of people around them, and in the literature they study. A list of possibilities follows: Absent thee from felicity awhile V, i All is not well I, ii The bird of dawning singeth all night long I, i Brevity is the soul of wit II, ii Frailty, thy name is woman!

I, v So much for him I, ii Sweets to the sweet; farewell!

V, i That it should come to this! I, ii There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy. These can be "performed" for the class. The following are suggestions for organizing the instruction for any ability level of student, and then more specific recommendations for use with those with advanced and nonacademic ability levels. Journal writing is an essential part of an English classroom, especially with works of literature.

At a glance, teachers can readily assess whether a student has read and understood a work. Students should be encouraged or required to write in their journals throughout the study of the play, detailing their personal reactions to particular characters or situations or writing in response to assigned topics like those below. Have students relate each topic they write on to characters or situation in the play.

Hamlet (The Annotated Shakespeare)

Write about specific incidents, including any in which you were involved or have witnessed. How might events have been changed had someone not sought revenge? How would you like to be different, or would you like to be different? Explain the circumstances surrounding the even.

Do you believe in the supernatural? Look at this section and find advice you have heard from your own parents. How valuable is this advice? Have you used it? Have you been involved in any situation to which this advice was applicable? What circumstance might allow or prevent this? Do you have any experience with or knowledge of step-relationships? What conflicts and barriers must be overcome? What are the advantages, the positive aspects of these relationships? Why or why not? What evidence can you find in recent news stories to support this statement?

How do societies keep checks and balances on their "great ones? Have you every known one or been one yourself? Why do you think people do this? How do you feel about it? How did you feel? Have you ever been the recipient of affection from someone whom you did not care about?

How did you feel about this situation? Explain the situation—how you felt, how it turned out. Using small groups in the regular classroom can serve several functions.

Groups containing mixed ability levels can work on study questions, summarize scenes, prepare presentations, work on projects, and aid each other in deciphering more difficult sections of the play.

Hamlet PDF Summary

These same groups can also serve as peer groups for various writing activities. Group activities should be structured carefully for students on all ability levels. Teachers should provide groups with specific directions and expectation for each task, reasonable but flexible time limits, and follow-up activities connecting group work to the broader objectives for teaching the play.

Students should keep a reading journal summarizing what they have read, writing down questions about any aspect of the play, and responding to the actions of the characters and the plot.

A second reading of the play is desirable. With some students, reading the play aloud and summarizing the major actions scene-by-scene is necessary for comprehension.

Care must be taken not to cover too much in one-class period. To avoid monotony, other teaching strategies such as the following should be used on occasion: However, lower-ability students need to answer more surface-level comprehension questions before moving to the levels of analysis and synthesis.

Such questions can establish the essentials of plot, setting, and character. Here are some examples: Thought-provoking questions worded to promote understanding can be employed as well. Some useful activities might include one or more of the following: Journal writing on topics related to the conflicts and events in the play is one way students can become interested and involved in the issues and topics in the play.

Students should be given the opportunity to share and discuss the ideas they express in their journals. See the topics noted in "Suggesting for Organizing Instruction. Students can read these and draw parallels between the events in the articles and those in the play. This activity might be done in small groups with a follow-up journal writing and class discussion. The second journal topic included previously asks students to bring in examples of the role revenge plays in their lives.

A follow-up to this activity might include a class discussion in which students examine how the plot unfolds. A subsequent writing assignment, in the form of a journal entry or a more structured composition, could be appropriate. Students might be interested in reading "A Note on the Sources of Hamlet" included in the Signet Classic edition prior to studying the play.

A succinct background on the origins of the Hamlet story, this information might be summarized and presented by the teacher or assigned to a small group for presentation to the class. This activity in isolation from one or more of the preceding activities will not allow students to become personally involved with the issues of the play, a necessary step for a fuller appreciation and understanding of literature.

His concern with right and wrong in religious, moral, and political terms causes him much inner turmoil. The play contains many situations in which the surface appearance of things does not always match reality. Hamlet struggles to determine who his true friends are; the players in the acting troupe assume new identities; Claudius appears to be a true and just king and Gertrude his virtuous queen.

In many ways this conflict is intertwined with the theme of appearance vs. Among the most powerful images of the play are those which reveal disintegrating situations, both in personal terms for Prince Hamlet, and in political terms for Denmark.

See above list of themes. Provide students with a handout listing themes to be found. Advanced students can be instructed to note specific passages and situations that develop these ideas.

A simpler approach for less skilled readers is to hand out a list of page numbers where important passages related to themes are found and requiring the students to locate the passages and note their significance. Organize students into small groups, assigning each group a different theme. Allow time for groups to collaborate on a class presentation of this particular theme as it is found in Hamlet. Groups can present the important passages to the class, perhaps in the form of a handout or an overhead transparency.

They might also include a dramatization and discussion of selected passages related to their assigned theme. Groups can develop a list of study questions, both short answer and essay, to guide others in discovering this theme in Hamlet. Progressing through the Play: Scene VII.

A room in the Castle. Something have you heard Of Hamlet's transformation; What it should be, More than his father's death, that thus hath put him So much from the understanding of himself, I cannot dream of: I entreat you both That, being of so young days brought up with him, That you vouchsafe your rest here in our court Some little time: so by your companies To draw him on to pleasures, and to gather, So much as from occasion you may glean, Whether aught, to us unknown, afflicts him thus, That, open'd, lies within our remedy.

KING: But how hath she receiv'd his love? KING: Do you think 'tis this? How may we try it further? KING: We will try it. Scene VIII.

Enter Rosencrantz and Guildenstern. How dost thou, Guildenstern? Ah, Rosencrantz! Good lads, how do ye both?

Is it your own inclining? Is it a free visitation? Come, deal justly with me: come, come; nay, speak. You were sent for; and there is a kind of confession in your looks, which your modesties have not craft enough to colour: I know the good king and queen have sent for you.

But let me conjure you, by the rights of our fellowship, by the consonancy of our youth, be even and direct with me, whether you were sent for or no. HAMLET: I will tell you why; so shall my anticipation prevent your discovery, and your secrecy to the king and queen moult no feather. What a piece of work is man! How noble in reason! In action how like an angel!

The beauty of the world! And yet, to me, what is this quintessence of dust? Man delights not me; no, nor woman neither, though by your smiling you seem to say so.

You are welcome: but my uncle-father and aunt-mother are deceived. Scene IX. I hear him coming: let's withdraw, my lord. How does your honour for this many a day? I pray you, now receive them. HAMLET: Ay, truly; for the power of beauty will sooner transform honesty from what it is to a bawd than the force of honesty can translate beauty into his likeness: this was sometime a paradox, but now the time gives it proof.

I did love you once. I am myself indifferent honest; but yet I could accuse me of such things that it were better my mother had not borne me: We are arrant knaves, all; believe none of us. Go thy ways to a nunnery. Where's your father?Let the galled jade wince: He may not, as unvalued persons18 do, Carve19 for himself, for on his choice depends The safety and health of this whole state, And therefore must his choice be circumscribed Unto the voice and yielding of that body20 Whereof he is the head.

All We do, my lord. No, let the candied tongue lick absurd35 pomp, And crook the pregnant36 hinges of the knee Where thrift may follow fawning. There needs to be no particular mystery attached to these characters, nor is there.

The notation used in discussing prosody, as in indicating pronunciation, follows the extremely simple form used in my From Stress to Stress: I mean, my head upon your lap? I have been free only with what might be called the lesser and more mechanical aspects of the play.

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