Judgement Day- Flannery O'Connor

 

•What to answer while reading:

•How individuals accept old age and finality. How does Tanner face his inevitable death? What does he want to get out of life during his final months? What does this tell us about him?

 

•The relationship between generations. What differences are there between Tanner and his daughter/ son-in-law/ neighbors?

•Race and class in the mid-20th century south. How does Tanner approach issues of race? Why is this problematic?

Those Body Paragraphs: Hamlet Lit Analysis

The number one rule to remember is to stay away from plot summary. Instead of writing a book report, we want to write a literature analysis essay.

One helpful way to accomplish this is to follow the TREAT model:

T- Topic sentence (this still should fit the 3 Ps)

R- (This can be some plot summary- but make it short, include only what is necessary

E- Evidence

A- Analysis

T- Tie it together

The most important part of this model is the “Analysis” step- this is what you will usually be graded on most heavily in lit analysis essays.

When analyzing direct text (in this case Shakespeare’s Hamlet), you want to try and accomplish three steps:

A.    Consider what is said in the actual quote through its subtleties of the imagery and ideas expressed. Basically, what is the author saying without saying? (Is there symbolism, a deeper meaning, figurative meaning? What is Shakespeare really trying to say?)

B.    Assess how the quote is said, considering how the word choice, the ordering or ideas, sentence structure, etc., contribute to the meaning of the passage. What specific words is that character using? (You already did this with Claudius’s opening speech when he uses words like “our”).

C.    Connect this analysis of the passage back to the significance of the text as a whole. What were you originally trying to say in your thesis statement, and how does this point you are making with the quote help contribute to your original argument?

 

Feel free to change up the formula. Often, writers will include two quotes per paragraph (this is especially true when your prompt has to do with two different characters). If this is the case, instead go repeat the middle three sections (___, Evidence, Analysis) before tying it back together.

Label the following body paragraphs in terms of how it effectively uses the TREAT model and how it includes the three steps of analysis. Are these ultimately effective body paragraphs?

           

            Before Hamlet and Ophelia ever meet onstage, other characters offer their own theories about Hamlet’s true feelings which only continue to keep their true relationship clouded in mystery. Laertes compares Hamlet’s love to a blooming “violet,” calling it “sweet, but not lasting” (I.iii.8). He worries that the prince will give his sister a bad reputation by stealing her “chaste treasure” (I.iii.3) and then refusing to marry her. Polonius initially characterizes Hamlet as a smooth sweet-talker, but later revises his opinion, arguing strenuously that Ophelia’s withdrawal of affection is what causes the Hamlet to go mad. Even the shallow minded queen hopes for Ophelia’s beauty and looks to be what can truly captivate Hamlet’s attention. In the third Act, the reader finally witnesses a conversation between Ophelia and Hamlet which brings more clarity to their complex relationship.

 

During the famous balcony scene in Romeo and Juliet, Juliet is given a chance to display her impressive maturity which only demonstrates to the audience that she has a bold and balanced reaction to the male-dominated society. Building on the foundation Shakespeare laid out in Juliet’s opening scene with her mother, the young woman continues to speak her mind while simultaneously remaining rational in her thoughts. Even before the audience hears a single word from her, her stunning appearance alone inspires Romeo to praise her presence and compare her to the “sun,” a comparison that only helps reinforce the image of Juliet as a strong and powerful woman. Initially during the balcony scene, before Romeo reveals himself, Juliet is overtaken by love as she attempts to rationalize her way around Romeo’s “Montague” problem: “Tis but thy name that is my enemy:/ Thou art thyself, though not a Montague” (2.2.38-39). During this conversation with herself, Juliet cleverly considers the issue surrounding her lover’s familial standing in Verona.  While it is often assumed that young romantics are unable to unite love and reason together, this passage demonstrates Juliet’s ability to see Romeo as a man separate from his role in society. Although Shakespeare goes on to show how this mentality of the young lovers ultimately leads to tragedy, Juliet exhibits a form of romantic reasoning not seen in many other characters faced with difficult love-based dilemmas- certainly not Romeo. Juliet’s ability to reasonably separate her own feelings from society’s request for her to stay away from her family’s arch-rival contrasts with that of Ophelia, who gives no effort to detach herself from the restrictions of the prevailing social order in Hamlet

Literature Analysis Writing: Hamlet

Intro Paragraphs:

This is your time to set up the context for the essay. Assume your reader has not read the play. Never refer to yourself in a literature analysis essay (no “I” or “me”).

Avoid general statements in your opening (“Many people consider Hamlet to be the greatest play ever written”). What can be improved in the following opening paragraph?

Consider Hamlet’s relationship with Ophelia. Does he love her? Does he stop loving her? Did he ever love her? How does this affect the meaning of the play?

There is no doubt in my mind that love is the greatest gift in the world. No writer understood this gift better than William Shakespeare, the creator of Hamlet and Ophelia’s relationship. But unlike Othello and Desdemona or Romeo and Juliet, Hamlet and Ophelia rarely interact onstage. Throughout most of the play, we can only analyze their relationship through rumors, gossip, and third-party interpretations, rather than through direct observations of the way they speak to and treat each other. Even when we finally see them together, in Act III, scene I, we can’t be sure what their conversation means, since Ophelia has been instructed by her father to act a certain way and Hamlet may or may not be aware of Polonius and Claudius’s eavesdropping. The mystery surrounding the relationship is intentional.

Thesis Statements:

The foundation of a successful literary essay is argumentation. Without solid arguments, most essays are basically pointless! You need to create an argument that can be disputed or with which someone might disagree.

A good argument (aka thesis statement) will include the following 3 P’s:

Prompt: your argument must relate to the key concept in the prompt. For instance, if the prompt asks about madness, then you need to reference madness in your argument.

Provable: You need to be able to prove your arguments through textual support (examples and quotes). Be sure they are worthy of being proven: for instance, it is not necessary to prove that Hamlet wears black in his opening scene because no one would disagree that he does wear that color (this includes your topic sentences for body paragraphs as well).

Purpose: You should state why the author creates a situation or why he does what he does. This is called thematic purpose and should also reflect a major theme in the work.

Grade the following thesis statements:

I do not believe that Hamlet ever loved Ophelia.

Hamlet probably loved Ophelia at one point but then stopped.

In the play Hamlet, the titular character is a mean and cruel prince who obviously is not capable of loving anyone, especially Ophelia.

In William Shakespeare’s Hamlet, Ophelia and Hamlet have a love affair prior to the beginning of the play.

By making us unsure of whether Hamlet loves or ever loved Ophelia, Shakespeare puts us in Ophelia’s shoes, forcing us to feel confused and unsure, as she does.

 

A good thesis statement focuses on what the author is trying to do!! Why is Shakespeare depicting a character in this way? How is he doing it?

 

With your partner, write an intro paragraph (including a thesis statement) for the following prompt:

Death, murder, and suicide play a major role in Shakespeare’s play Hamlet. How does the character of Hamlet view death in the play? Does this view change? Why is this significant to the character? How does this affect the meaning of the play?

Hamlet Essay Topics

Choose one of the following prompts to write on. Your essay must be at least 4 pages and be written in MLA format. Have a topic chosen by Monday, January 7th.

1. Next to Hamlet, arguably the most complex character in the play is Claudius. Write an essay that considers the complex and often contradictory nature of Claudius’ character. This essay must look beyond the fact that Claudius is a murderer who has usurped his brother’s throne and married his brother’s wife. It must also consider his effectiveness or ineffectiveness as a political figure, and determine at precisely what point Claudius makes the transition from one to another.

 

2. Characters who parallel yet contrast one another are said to be foils. Authors often use foils to clarify character traits as well as issues in stories and plays. Discuss Shakespeare’s use of foils, focusing on the parallels and contrasts of any one of these pairs of characters: Hamlet and Laertes, Hamlet and Horatio, Hamlet and Fortinbras, Hamlet and Ophelia, Laertes and Horatio, Claudius and Hamlet’s father, Gertrude and Ophelia, Polonius and Claudius, Polonius and Hamlet. What do Shakespeare’s uses of foils accomplish in telling the story of the play?

 

3.      The Silent voice of women in "Hamlet" Gertrude and Ophelia. How would you compare and contrast their role of women in Hamlet, their purpose, the statement they make or lack of statement they make. What do their portrayals say about women politically, intellectually, socially, emotionally and economically? (You can start by comparing their roles in the castle along with their respective deaths).

 

4. “If you be sick, your own thoughts make you sick.” Ben Jonson.

Throughout Hamlet there are references to real and imagined mental illnesses as portrayed by Shakespeare’s characters. What part does madness-real or feigned-play in the tragedy of Hamlet? Contemplate whether or not Ben Jonson’s quote maintains validity in Hamlet, then take a stand and write about to whom this accurately applies.

 

5.      What are the hopes and despairs of the characters you encountered? In a solidly written essay, report how at least three of the characters you select from amongst family units (Polonius, Laertes, Ophelia, Gertrude, Hamlet, Claudius, and Fortinbras), would respond to August Napier’s comment, “In each family a story is playing itself out, and each family's story embodies its hope and despair.” One approach might be to select Hamlet, Laertes, and Fortinbras--all sons without fathers—to ascertain the similarities and differences between each one’s aspirations and despondency's. Or, examine the hopes and despairs of Danish court members Polonius, Laertes, and Ophelia, using evidence to call to attention to the family’s story of desires, and how court events may cause them grief and suffering.

Hamlet Act 4 Study Questions

SCENE THREE

1. Explain the worm metaphor. What does Hamlet’s explanation of Polonius’ situation suggest about Hamlet’s state of mind?
2. What is the purpose of the sealed letters?

SCENE FOUR

1. When Hamlet compares himself to Fortinbras’ men, what does he realize?

SCENE FIVE

1. How has Polonius’ death affected Ophelia?
2. How does Hamlet’s desire for revenge differ from Laertes’?

SCENE SIX

1. How does Hamlet escape the boat bound for England?

SCENE SEVEN

1. Explain Claudius’ plan for Hamlet’s eventual death. Why does he use such an elaborate plan?
2. Describe the conditions surrounding Ophelia’s death. What do they suggest about her? Would you argue that she actually killed herself?

Hamlet Act 3 Study Questions

Hamlet Act Three

Answer in complete sentences and use quotations/specific references to support your answers. Answer on a separate piece of paper.

SCENE 1

1. Cite proof that Claudius knows that there is more going on with Hamlet than meets the eye.
2. A) Paraphrase the critical problems in life/death in Hamlet’s famous soliloquy lines 64-98.  B) what is his main motivation for not taking action?
3. Read the conversation between Hamlet and Ophelia. Remember that Hamlet was very sarcastic, slightly funny, and a little cruel to Polonius in the previous Act. How is Hamlet’s treatment of Ophelia in this conversation different from his treatment of Polonius? Why do you think he is treating her in this way?

 

SCENE 2

1. What happens to Hamlet’s relationship to Rosencrantz and Guildenstern in this scene? How does Hamlet treat them?

SCENE 3

1. In Claudius’ first monologue the reader saw a smart, calculating politician who seemed to be in love. In this Act’s Soliloquy, the reader witnesses a much different villain. Write a paragraph describing Claudius feelings in this speech. What concerns Claudius in his soliloquy? How is his behavior different from the first Act? What kind of villain is he? Use a quote in your paragraph  (lines 39-75)
2. Why does Hamlet not kill Claudius when he has the chance? Do you think this is a rational reason for not killing the King, or is there something else going on in Hamlet’s mind?

SCENE  4

1. A) Cite and explain one of Hamlet’s most damning accusations against his mother. B) Does he seem to be following his father’s earlier request?
2. What might be significant that Hamlet is the only one who sees the ghost in this scene?
3. What advice does Hamlet give Gertrude in lines 160-217?

Act 3 Summary Question:

 

1. How would you characterize Hamlet’s behavior at the end of this Act? How would you describe his emotional state and how is this different from the previous Acts?

Hamlet's Emotional Rollercoaster

Hamlet's Act 2 Soliloquy:

 1. Shock bewilderment: what’s wrong with me?

O, what a rogue and peasant slave am I!

 Is it not monstrous that this player here,

 But in a fiction, in a dream of passion,

 Could force his soul so to his own conceit

 That from her working all his visage wann'd,

 Tears in his eyes, distraction in's aspect,

 A broken voice, and his whole function suiting

 With forms to his conceit? and all for nothing!

 For Hecuba!

 What's Hecuba to him, or he to Hecuba,

 That he should weep for her? 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.

 

2. Self-deprecation / suicidal depression: I’m useless.

Yet I,

 A dull and muddy-mettled rascal, peak,

 Like John-a-dreams, unpregnant of my cause,

 And can say nothing; no, not for a king,

 Upon whose property and most dear life

 A damn'd defeat was made.

 

3. Anger / defensive aggression: are you looking at me?

Am I a coward?

 Who calls me villain? breaks my pate across?

 Plucks off my beard, and blows it in my face?

 Tweaks me by the nose? gives me the lie i' the throat,

 As deep as to the lungs? who does me this?

 Ha!

 

4. Resignation / acceptance: ok, I’m a wimp.

 'Swounds, I should take it: for it cannot be

 But I am pigeon-liver'd and lack gall

 To make oppression bitter, or ere this

 I should have fatted all the region kites

 With this slave's offal:

 

5. Fury / rage: bastard!

bloody, bawdy villain!

 Remorseless, treacherous, lecherous, kindless villain!

 O, vengeance!

 

6. Sarcasm: oh right, brilliant!

 Why, what an ass am I! This is most brave,

 That I, the son of a dear father murder'd,

 Prompted to my revenge by heaven and hell,

 Must, like a whore, unpack my heart with words,

 And fall a-cursing, like a very drab,

 A scullion!

 

7. Irritation / frustration: pull yourself together.

 Fie upon't! foh! About, my brain!

 

8. Calculating / plotting / scheming: ok, let’s see...
 

I have heard

 That guilty creatures sitting at a play

 Have by the very cunning of the scene

 Been struck so to the soul that presently

 They have proclaim'd their malefactions;

 For murder, though it have no tongue, will speak

 With most miraculous organ. I'll have these players

 Play something like the murder of my father

 Before mine uncle: I'll observe his looks;

 I'll tent him to the quick: if he but blench,

 I know my course.

 

9. Fear / nervousness: it could all be a set-up.
 

The spirit that I have seen

 May be the devil: and the devil hath power

 To assume a pleasing shape; yea, and perhaps

 Out of my weakness and my melancholy,

 As he is very potent with such spirits,

 Abuses me to damn me:

10.  Decisive: here’s what I’ll do.

I'll have grounds

 More relative than this: the play 's the thing

 Wherein I'll catch the conscience of the king.