Blog #18 Final Portfolio Reflection

      Out of all the strenuous, tear-inducing, fun assignments we've completed this trimester, I definitely have a few favorites that come to mind.  Overall, I found that I was better suited to the more creative projects because they combined structure with the freedom of choice.  One project that I'm really proud of is my Summer reading creative piece. I chose to read Wolf Hall, by Hilary Mantel, which, as I found out after receiving the novel, was about 700 pages long.  (I'm not gonna lie, just because it's more pages doesn't make it better). For my project, I decided to make a board game similar to battleship that paralleled the novel's major theme: duty vs. morality.  In the beginning, I faced some challenges with choosing the medium by which to display the theme.  Just coming up with a board game took my the longest time out of any other stage of the project. I hadn't been expecting everything to come together as well as it did, but when I finally crafted the game and wrote out my essay, all of my points supported the main theme while smoothly translating into a playable and educational board game.
        Like many others,  I really enjoyed working on the American Drama project. The assignment naturally lent itself to a more "outside-of-the-box" approach, which I liked, and which worked well for all my group members.  Originally, our group only had three girls and therefore we had chosen The Women as our play because it featured all female roles.  Little did we know our group would be joined by three dudes, which complicated things a bit.  The start of the project was round, but once we devised a plan and wrote a schedule, (and told the boys they were playing girls), things began to run more smoothly.  In the end, the testosterone addition actually added to the comedy of our video and better stressed the main theme we were trying to portray. Writing the transitions in the script was a lot of fun and they turned out extremely well when everything was put together.  Although it was hard to get things going, I learned that adjusting to things that are thrown at you and not fighting them, add to the originality of a project and that you can't have control of everything.
          As an individual, I can admit (painfully) that I have a hard time when I'm not in control of things.  In the beginning of the trimester, I was still getting used to the idea of getting a lot of group grades in the class, and truthfully, I wasn't too happy about it.  You can control your own effort, but it's hard to control other people's. My first group for this class (fellows of the pelo) turned out to be a great mix of talents and students, but it took me a while to learn to let go of all the control.  The first few assignments, I did a majority of the work, which was my fault, not theirs.  I was afraid that things wouldn't get done if I didn't do them.  Turns out, boys stay up way later than girls and don't get things done as soon as possible.  When I finally trusted them to do things and let go of the reins, the last of these groups projects turned out really well and we all contributed equally.
           On individual assignments, I'd like to think that I got everything done on time, without procrastination, and gave things all my effort.  With marching band conflicting first trimester, it's been really hard to get things done without distraction, and physically, to have the time to do them.  I'm pretty proud of my ability to get things done without wasting time and to have worked as efficiently as possible for all assignments.  I hope that the end of the trimester will end this same way, and that I'll be able to plot out my time strategically to finish things up without losing sleep or time.
            Looking back over my goals, I'm shocked to see that I completed more of them than I thought I would.  I said that my major weaknesses were being able to classify poems, knowing about literary time periods, analyzing quotes, and understanding the author's purpose.  Through the first part of the trimester, we focused a lot on literary periods and the classifications of poetry that went along with them. Just being able to group them and generalize different types of poetry, made it a lot easier for me to identify that things I should be looking for when analyzing poetry. On our practice essays, especially, I found that this knowledge made it a lot easier to infer the purpose and overall meaning of what I was reading.
           Even though I accomplished many of the major goals I had set for myself, there are of course, those that I didn't follow through on. I told myself that in order to better analyze quotes, I'd individually set aside time to practice reading essays and poems, which I didn't really get to.  Probably unrealistically, I also told myself that I'd memorize words and names literary devices so that when I came across them on multiple choice tests, I wouldn't be completely taken off guard.  But, that didn't really happen...Although I neglected some of these set goals, the first trimester of this class pretty adequately prepared my for the challenges I so often face in taking multiple choice tests and writing essays.  Looking back over all the work we've done in the class thus far, I can confidently say my analytical and composition skills have improved greatly, and I can't wait for the second part of the class to further these skills.
        

Blog #17 (Hamlet # 6)

Hamlet Literary Analysis

Words, Words, Words…

Zoe Storch

Ms. Wilson

AP Literature and Composition

12 November 2013

AP Prompt:

In a novel by William Styron, a father tells his son that life "is a search for justice." Choose a character from a novel or play who responds in some significant way to justice or injustice. Then write a well-developed essay in which you analyze the character's understanding of justice, the degree to which the character's search or justice is successful, and the significance of this search for the work as a whole. Do not merely summarize the plot.

I have read and understand the sections in the Student Handbook regarding Mason High School's Honesty/Cheating Policy. By affixing this statement to the title page of my paper, I am certifying that I have not cheated or plagiarized in the process of completing this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand the possible consequences of the act, which could include a "0" on the paper, as well as an "F" as a final grade in the course.

x__Zoe Storch__

 

Ms.Wilson                                                                                                                                        Storch1

AP English Literature and Composition

12 November 2013

Hamlet Literary Analysis

           In Shakespeare's Hamlet, a recurring theme of justice weaves itself through nearly every character’s storyline, serving not only as the catalyst for action, but as the final resolution to the play. William Styron writes in his novel that life "is a search for justice", a piece of wisdom which in itself compromises all of Hamlet’s decisions and soliloquies. The prince of Denmark fights for justice, debates life and death over it, and ultimately, perishes by it. Hamlet’s personal encounters with true justice parallel the larger theme of the work. Shakespeare himself toys with its meaning in his choice to kill off each character after they have committed a wrong. Side by side, the many exemplifications of justice in Hamlet showcase a more universal truth. They stress that true justice is only achievable through revenge, yet the fight for it is an endless cycle, one that almost always ends in tragedy.

            From the bleak start of his journey, Hamlet is already faced with a decision that will shape his journey as a hero. The world seems to be crumbling around him as he struggles to come to terms with the death of his father, and the marriage of his mother to his Uncle isn’t much help. Shortly after Claudius is crowned, he is shocked by the apparition of his dead father. The arrival of the supernatural being triggers his quest for true justice, as he learns that his father has been murdered by his Uncle and he realizes he must choose a path of action. Yet, just like the many other characters in the play, his decision leads him to a fork in the road, one trail veering towards morality and the other, to revenge. His ghost father clearly directs him to "Revenge his foul and most unnatural murder." ( 1.4.25) , and initially, Hamlet obeys, convincing himself that it is "the thoughts of love" that will justify his actions (1.4.29). This pivotal choice defines Hamlet and his morality in respect to achieving justice, but in the bigger picture, serves as only the first half in his complete journey. Hamlet’s view when compared with other characters’ enforces the very loose definition given to true justice by Shakespeare. His initial stance on the matter, revenge for family bonds, represents justice’s personal nature. It hints at the fact that in reality, justice may too subjective to ever define, too strongly linked to personal beliefs to judge what is right and what is wrong.

            Perhaps the most famous poetic soliloquy, Hamlet’s "to be or not to be" speech expands on Shakespeare’s understanding of justice even further, clearly illuminating the struggle between life and death, action and silence. Caught in a mental war involving his own suicide, Hamlet considers the harrows of being alive. His uncertainty to obtain revenge against Claudius has come to a head, and he theorizes that maybe living at all isn’t worth it, that "to sleep […] we end the heart-ache and the thousand natural shocks that flesh is heir to…" (3.1.61). In an artful argument against himself, Hamlet asserts that the quest for justice is an internal struggle. And, "thus," he says, "conscience does make cowards of us all […] the native hue of resolution is sicklied o’er with the pale coast of thought…" (3.1.83) He states that the imprisonment and constant contemplation of one’s mind makes action or revenge nearly impossible, concluding that being alive means fighting against this conscience and deciding for oneself what true justice really is.

                                                                                                                                 Storch 2

              Following the storylines of the play’s other characters, readers realize that Hamlet isn’t the only one who must choose what true justice is really worth. The final scene features the resolutions of all these storylines combined, and as a whole, asserts Shakespeare’s belief that although revenge is the only way to truly achieve justice, one’s search for it only enters them into a deadly cycle, beginning with the quest for compensation and ending with their own downfall. Claudius, very undeniably, is killed in response to his own murderous actions. As he dies, Hamlet states, "Here, thou incestuous, murd’rous, damned Dane, Drink off this potion." (5.2.289). The death of Claudius clearly reflects the play’s overall theme: revenge is the only way to achieve true justice. Following it are two more deaths, Laerte’s, similar to the King’s in the fact that he is dying after seeking an immoral revenge. The last death, however, illustrates the more paradoxical nature of justice when the archetypal hero of the play, Hamlet, also faces his own downfall after having finally achieved his own form of true justice by killing Claudius. In this demise we are confronted with the main dilemma and belief of Shakespeare’s: that although true justice is attained through revenge, revenge is an immoral action, one that ends in the demise of the immoral individual. With this in mind, the entire plotline of Hamlet is given new meaning. As a whole, the play illuminates a more universal truth involving the search for true justice. Seen in the lives of Shakespeare’s characters, it becomes apparent that true justice is subjective, and that in one’s quest to achieve it, we all become sinners.

 

Blog # 16 Seng-Song (Hamlet Blog #4)

 

               Have you ever heard of Peter Seng? Well, either had I until eating my toast and poached eggs this morning. While reading the daily paper, I came across his criticism piece in The Chronicle. Upon further analysis, I found that he was analyzing the late Ophelia’s mental state. When first reading it, I hesitantly, but for the most part, agreed with his psychoanalysis of the girl.  But after a rereading, I picked up the more negative undertones and bashes Seng seemed to be throwing at both myself and Ophelia.  Yes, I admit that I probably didn’t always leave myself open to Ophelia to talk to, but I hadn’t “been avoiding her” like Seng repeatedly suggested. When talking about my reaction to Ophelia’s deranged song-singing, Seng asserts that “It is easy to imagine the Queen’s guilty start, her sudden dread…” Okay, first of all Mr. Seng-song, I had and still have absolutely no reason to feel guilty about Ophelia’s mental lapse. You blatantly assume, with hardly any evidence, that I am one of the people to blame for the girl’s insanity, when in all reality; you don’t even consider just how detrimental my son has been in her downfall.  Let’s be real, a teenage girl can only be plagued by one thing- love sickness. It was Hamlet that repeatedly told her, “to a nunnery go” (3.1.140) when she was seeking attention and advice.  He continued to harass her with his assertion that, “men know well enough what monster you make of them.” (3.1.131) How does that not sound like it would mentally crush the poor girl? When I heard she wanted to see me for advice, I compassionately exclaimed, “Let her come in.” (4.5.15) Therefore, when you, Seng, metaphorically suggest that “Denmark has become a prison” for Ophelia as well as for Hamlet, I hope you know that you are completely ignoring that fact that I have always been there for my constituents and my loved-ones. It can’t be a prison if there’s a mother figure opening her arms to hold you.

            When Seng finally begins to consider Hamlet as catalyst to Ophelia’s downfall, I definitely agree with his analysis of the irony in Ophelia’s song and how it adds to the pathos.  He says that, “the old song has its own inexorable logic, and the romantic fiction of its tragic story becomes the only reality Ophelia knows.” Yes, exactly.  Like I was saying before, the mind of a teenage girl is filled only with romance. I would know, I used to be one.  But then, Seng turns his attention to Ophelia’s family for blame. Once again, I totally disagree with his belief that anyone other than Hamlet can be held responsible.  Seng claims that “father and son are concerned to throw a lurid light across the relationship.” From afar, I can see how Seng could misinterpret their concern for Ophelia’s safety for something more harsh. But I know Polonius, and I have never seen a father with more love for his daughter. Seng characterizes Polonius’ advice to her as “bitter”, ingraining within Ophelia “the habit of mistrust.” When I overheard their conversation concerning Hamlet’s love for her, I only heard Polonius speaking wise and unbiased advice.  “I do know,” he says, “when the blood burns, how prodigal the soul lends the tongue vows.” (1.3.117) He wasn’t bombarding his daughter with feelings of mistrust and hate against Hamlet, but merely with the realities of the world.  Perhaps the most outrageous of all Seng’s assumptions is in his opinion that, “Polonius is only willing to sacrifice morals to political expediency; it is his spying […] that finally brings about his own death.” Oh Seng, what has Polonius ever done to you? The only reason Ophelia’s father would ever “sacrifice morals” as you say, is because he loves and cares for his daughter! When we both agreed that he should spy to learn Hamlet’s true intentions, Polonius clearly stated, “if circumstances lead me, I will find where truth is hid, though it were his indeed within the centre.” (2.2.156).  So, with all this considered, I tell you, Seng, that number one: I will never again read your column in the paper, for it gets me too worked up. And number two: There is no one but Hamlet to blame for Ophelia’s tragic downfall.  Wrongly assuming and accusing everyone else will only lead to more mistrust in the kingdom.

Blog #15 To Be or Not to Be (Hamlet Blog #3)

SOLILOQUY ANALYSIS: To Be or Not To Be

As Hamlet dramatically ebbs and flows between the ideas of living and dying, he chooses to include dark imagery related to the uncertainty of death and the negativity of life. He asks himself whether it is “nobler in the mind to suffer the slings and arrows of outrageous fortune” or rather “to take arms against a sea of troubles, and by opposing them, end them.” (3.1.57-59) With the inclusion of twisted metaphors, his words take on a more emotional (pathos) weight. They highlight the main dilemma of Hamlet’s speech and also hint at his mental instability. Even when he speaks of life, he alludes to its “heaviness” in saying that one does, “grunt and sweat under a weary life.” (3.1.77)

Throughout his soliloquy, Hamlet continuously captures the reader through the use of appeals, whether they be to emotion or character, reason or fear.  To appear as an equal, he stresses the specific words related to mankind as a whole. “…and makes us rather bear those ills we have,” he exclaims, “than fly to others that we know not of.” (3.1.81) Whoever the speech is addressed to, even if it is just to himself, Hamlet’s use of these words portrays him as if he’s like us all, and turns the focus of the speech not just on him, but on the audience (ethos). Emotionally, Hamlet is an expert as tugging heartstrings. With skillful wordplay, he emphasizes the very negative aspects of life and all its struggles, suggesting that, “…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 wished.” (3.1.61)  Concurrently, the prince is able to employ logic even through a cloud of insanity. He warns that “the conscience does make cowards of us all”, asserting that even the “native hue of resolution is sicklied o’er with the pale cast of thought.” (3.1.83-85)

Like a true poet, Hamlet’s speech is interwoven with literary devices, all working towards one purpose, to highlight his appeals and strengthen his assertions and uncertainties. The overall tone of the piece can be seen as morbid and pained. He can’t seem to make up his mind, and even at the speech’s resolution, is plagued with the same dilemma as well as the suffocating confinement of his own mind. Carefully selected and crafted, Hamlet pieces together dark diction as enforcement of tone.  Words like, “suffer”, “whips and scorns”, and “mortal coil” illuminate a feeling of imprisonment in the live human body. (3.1.) The entire soliloquy hints at the larger irony (paradox) that death may be the only relief from the weight of life. He draws parallels between death and sleep, dreams and mortality.  In numerous cases, the infinitive is used in support of these parallels, when he twice states, “To die: to sleep.” (3.1.61,64) or perhaps the more famous “to be, or not to be.” (3.1.56)

Speaking metaphorically Hamlet compares Time to an oppressor, saying that one must bear its “whips and scorns.” (3.1.73) He also talks about the place after death to be something like, “the undiscovered country from whose bourn, No traveler returns…” (3.1.79) Similarly, he draws a connection between life on earth and imprisonment, arguing that our body is a cell of confinement. Therefore, our mind, he says, is another prison in which we must remain, left only to face our own uncertainties, inevitably doomed to remain cowards. Although, he makes solid arguments, he often doubts himself, and therefore is seen as not completely sure of his own assertions. Like many other greats, he ponders the infamous “meaning of life” as well as the struggle between painful life and easy death.  In the end, he is still being pulled in different directions, but concludes that we all will be forever afraid to act upon our thoughts and that death may be the only resolution to the weight of being alive.

 

 ACTING ANALYSIS

 

Kenneth Branagh: This scene begins and ends with a shot over the back of Hamlet. Almost the entire soliloquy was a shot of a mirror and Hamlet’s own reflection in it. This hints at the prince’s own “self-reflection” and discovery, by both literally and figuratively revealing an image of Hamlet to himself. As the scene continues, the camera shot zooms closer and closer, until we are left to view only Hamlet’s face.  Just like the audience is uncovering more about his mental state as the speech matures, they are physically getting closer to him in what the director chooses to reveal in the shot. Wearing all black, Hamlet’s costume choice symbolizes the stereotypical relationship between the color black and death as he goes through his rant about the struggle of life versus suicide. When he hits the part about time as the oppressor, scary music begins to play and when he unsheathes the blade, the music increases in suspense. Zooming completely in on his reflection in the mirror, the scene leaves us unsure about reality and reflection, life and death.

Laurence Olivier: Definitely the most dramatic of the four, this version begins with suspenseful music, overlooking the stormy sea, which alludes to Hamlet’s image of the “sea of troubles”. Before he begins speaking, there are some really weird, trippy blob-like images and then the camera zooms in on his head. This sets us up for Hamlet’s soliloquy by hinting at his mental instability and the internal conflict he feels.  At the “to die” moment in his speech, there’s a non-diegetic voice over (we barely notice it changed) until he reaches, “to sleep”, where there’s a flash back to diegetic sound and reality.  This technique illuminates the larger theme and uncertainty between life and death, as well as what is reality and what could be considered a dream.

Mel Gibson: The shot starts off with Hamlet walking down dimly lit stairs, and then pans over the inside of castle, until we eventually realize that he is inside of a tomb.  While considering his own life and death, the camera constantly zooms back to tombstones and skeletons, very bluntly emphasizing how close he is to death, literally. As he walks and talks, little bits of light from ceiling sometimes illuminate his face, showing his emotions, and also illustrating the contrast between light and dark, death and life. The entire scene is very quiet, which leaves us to hear only Hamlet’s inner thoughts. The camera sometimes zooms in on his face, and other times features a wide shot, except for when he reaches, “the undiscovered country” where the camera zooms in on the tombs.

Ethan Hawke: Probably the most unrealistic, yet most effective of the different versions, this one begins with Hamlet walking through the aisle in a present-day movie store (Blockbuster). The cheery setting and modern day background create a stark contrast between death and life. The director, like the other versions, chose to clothe Hamlet in black, but unlike the others, gave him a very attractive winter hat.  Just like the seasons coincide with rebirth and death, the winter hat could be symbolizing the thoughts of death that are confined inside of his head (or in this case, that he is wearing on his head.) At the conclusion of his speech, an image of a burning man flashes on the tv screen, paralleling his inner struggle.

 

Most Effective Version (From Gertrude’s Perspective)      

As I watched from the cold outside air of Blockbuster, my face pressed against the glass window, I could clearly see Hamlet as he perused the aisles carefully.  His black suit and shirt made me think that what he was ranting about had to be something a bit morbid.  I may have been thinking into it too much, but the fact that he was wearing a winter hat could have been symbolizing the season’s relation to death. He does have a flair for the dramatic. I found it strange that I was hearing background music, but you know, sometimes that’s what characters hear when they’re acting in movies.  It was really intense and dark, and it actually scared me a little.  It made me question Hamlet’s sanity- was he going to kill himself right then and there? In a movie store? That’d be a mess to clean up. I also found it ironic that he was walking through the “action” aisles, because since he’d entered the store, he’d been asking himself if he should “take action”. Get it? Yeah, that might be a reach, but like I said, Hamlet’s a character. When he finally finished talking to himself, I noticed the television screen had a picture of a burning man, which seemed to parallel his internal conflict and anger. As a whole, ever since Hamlet entered Blockbuster, the contrasting colors and ironic undertones seemed to highlight his dilemma better than any old-time Shakespearean movie ever could.

 

What Would I Change?

              

If I could change anything about any of these “To be or not to be” approaches, I’d have to go with the Mel Gibson version. Although he was really great to look at, I didn’t really like how obvious the whole “standing-in-a-tomb” thing was.  I think the director could have highlighted his inner turmoil in a more subtle way. Maybe he could have been glimpsing his reflection in water or even in a sword (like Mulan).  I’d also change the lighting and make it more purposeful instead of randomly shining onto his face.  I think it would “shed a lot of light” onto his mental struggle if the light from the ceiling could have fallen on his face when he was talking about life and then he could have stepped into the shadows when mentioning death. However, I did like how the camera zoomed onto the tombs when he talked about the “undiscover’d country”, but it would have been interesting if instead of walking by the tombs, he would have interacted with them more.  If he had climbed into them or hung on them, he might have helped play up the paradox between the struggle of life and the easy relief of death.

              

Blog # 14 Mr. and Mrs. Smith (Gertrude Said It #2)

          Jane Smith once said, “Happy endings are just stories that haven’t finished yet.” And you know what? I totally agree.  Life’s always going to be messy. People will always be hiding things, and sometimes you need to spin a web of lies to uncover the truth.  Just like my favorite chick flick/spy thriller, Mr. and Mrs. Smith, my life and the people in it seem to be revolving around lies and trickery. Just like the two main characters (husband and wife/secret spies), I feel that my son and I are always hiding something from each other.  John and Jane Smith are trained assassins working for competing organizations, and in a way, you could say that Hamlet and I are on two different sides, always trying to get one step ahead of the other, keeping secrets. Like I’ve always said, “More matter, with less art.” (2.2.95) I really hate when people dance around their point, just like I hate elaborate lies. But sometimes, lying is a necessity (for me, of course, there’s no justification for Hamlet lying).

          The plan Polonius and I have created to spy on Ophelia and Hamlet will require some secrets, but only in the hopes of returning my son to a normal mental state. I totally agreed with Polonius when he said that, “if circumstances lead me, I will find where truth it his, though it were hid indeed within the centre.” (2.2.156) Isn’t that the point of spying? I’m sure John and Jane Smith would agree that a lie is only forged in the hopes of uncovering truth or protecting loved ones.  Polonius also said that a, “bait of falsehood takes [the] carp of truth.” (2.1.61) Sure, I’m lying, but let’s be real, who isn’t?
            Hamlet himself has been trying to hide something from me for days, but I’m a mother with instincts. I know Hamlet’s not really insane- it’s all an act.  I’m not exactly sure why he’s doing it yet, but just like Mr. and Mrs. Smith, I feel that the truth will come out eventually. Just the other day, I heard Hamlet being all crazy and mumbling something to himself in the other room.  I didn’t catch all of it, but I did hear him say that he would put on an “antic disposition” (1.5.172) which I can only imagine means he is faking his insanity.  But why?! Just a wild guess, but it could have something to do with my marrying his uncle.  In Mr. and Mrs. Smith, Benjamin (the prisoner they are both assigned to kill) makes quite a coincidental comment about marriage. “Oh, I must have missed that day. Just like you missed the one about not marrying the enemy.” Yes, I guess you could say I married Hamlet’s enemy and that may be the source of his frustration. Because of this, I’m afraid that he is formulating a plan behind my back, similar to the paranoia I imagine Mrs. Smith must have had regarding her husband. Yesterday, he said, “the play’s the thing, wherein I’ll catch the conscience of the king.” (2.2.532). Why are we hiding so many things from each other? I’m his mother for crying out loud! Maybe it’s okay in the movies, but in reality, I’m just plain scared of my own son.

Blog # 13 Gertrude Said It. (Hamlet Blog Post #1)

     Okay, I know that Hamlet’s my son, but c’mon kid, rub some dirt on it.  Yes, your father, my husband is gone forever, but that doesn’t mean you have to sulk around and gloom everything up. Oh, and how many times do I have to tell you I don’t want you running off to Wittenburg?  The last time I brought it up, you were all like, “I shall in all my best obey you, madam.” (1.2.120) Just because you have a fancy shmancy new title doesn’t mean you can backsass your mother.  I know you don’t know it, Hammy, but I heard about that bratty little comment you made about me to Horatio. When he told you that he came to see your dad’s funeral you answered, “I prithee, do not mock me, fellow-student; I think it was to see my mother’s wedding.” (1.2.178) Seriously? Why do you have to be like that? Oh, one more thing on the topic of my dear baby Hamlet- who’s Ophelia and why did no one tell me about her? I overheard Polonius say that you had “given private time” to her (Act 1.3.92) What does that mean?  Your mother has a right to know these things!

Breathe, Gertrude, breathe.  I know I’m ranting again, but I’m in a bit of a dark place right now and I feel like everyone’s against me.  You’re probably thinking, “Really, Gertrude? Everyone in the whole world?” And to that I say, no. Not everyone... Just all of Denmark!  I really didn’t think this whole marrying- your- deceased- husband’s- brother thing would be a big deal, but apparently people aren’t too into it. When the King first addressed his new constituency, he referred to me as “our sometime sister, now our Queen” (1.2.8) and I didn’t think anything of it. But now I’m hearing people talking about me behind my back and it’s really starting to get on my nerves.  Can I just remind people that my marriage is the one thing holding this kingdom together? It’s actually kind of a heavy weight on my shoulders, thank you. Sure, the old king died. Who doesn’t die? But marriage is a happy occasion, one that people better start accepting or they’ll be depressed just like my whiny, little Hamlet.  As my new husband, Claudius, put it, “With mirth in funeral and with dirge in marriage, In equal scale weighing delight and dole,- taken to wife: nor have we herein barr’d your better wisdoms, which have freely gone with this affair along.” (1.2.12). BOOM goes the dynamite.

Blog #12 Hamlet Character Justification

       For my character to blog from, I would have to choose Gertrude, because she seems pretty drama-prone and self-centered: two great qualities for social media.  I'm imagining she's going to have a lot of fights with her family members and will probably want to turn to an audience to rant about them (blog). At a quick glimpse her life seems to imitate that of a reality television show: her husband is murdered, she marries his brother, her son is insane...Her character description also hints at her longing for material objects and beauty.  Although there will probably be some pretty deep conflicts going on around her, she is sure to keep the mood light-hearted and I think blogging from her perspective could be very humorous.