Hamlet Act 2 Short Answer

masochism – self-hatred “O what a rogue and peasant slave am I!” validates Hamlet’s possession of this disorder.
Actor reciting Tale of Aneas The Event that triggers Hamlet’s tirade in soliloquy number three.
Evoke the truth from the kings reaction to the play. Hamlet’s vow by the end of soliloquy number three.
paradox The literary technique that shows the ambiguity of an actor’s pretending being more realistic than real life.
pigeon-liver The organ to which Hamlet compares himself to emphasize his lack of courage.
The Murder of Gonzago The name of the play Hamlet wants the players to perform before the royal court.
How man has potential, yet he wastes it; mans’ weaknesses What Hamlet seems to focus on or lament about in his “What a piece of work is a man!” speech.
(1) set her free(2) sacrificing her life(3) sacrificing virtue (cow with bull) The three-way meaning in Polonius’ line, “At such a time, I’ll loose my daughter to him.”
Sulking, contemplating meaning of life What Hamlet has been doing with his time when he should have been occupied with actively avenging his father’s murder.
(1) Against his religious/philosophical views (doesn’t want to do it.(2) second guessing the ghosts identity (could be devil)(3) Doesn’t think there’s enough proof that Claudius is guilty. Give 3 reasons for Hamlet’s apparent delay in seeking revenge for his father.
People are fickle and follow power, regardless if they deserve it. The idea suggested by Hamlet’s remark that “my uncle is king of Denmark, and those that would make mows at him while my father lived, give 20, 40, 50, 100 ducats a-piece for his picture.”
facades or entrapments (poison/ears) “…And there put on him what forgeries you please; …Your bait of falsehood takes this carp of truth:”
paradox or appearance v. reality (It’s impossible for an actor to portray a genuine emotion. The definition of acting implies pretending. People can fake emotions, too. Actors’ emotions can be more real than peoples’ sometimes.) An actor has to create a genuine emotion on stage in order to make his audience know what a character is feeling; the professional pretender’s acting (Hecuba’s crying) is more real than the feelings people show to the public (Claudius’ grieving and self-sacrificing demeanor).
Dramatic Irony Hamlet’s initial evaluation of words as insignificant prattle
Dramatic/Verbal Irony (pun) “At such a time I’ll loose my daughter to him”
Verbal Irony For Polonius to speak the line: “since brevity is the soul of wit”
The Sky (to Hamlet, it’s a pestilent congregation of vapors) This new motif develops the Condition of the World theme
(1) Allusion(2) Foreshadowing(3) Juxtaposition The triple technique Shakespeare uses with the Tale of Aeneas and Dido in Act II
Prose Shakespeare uses this language style trait to indicate characters of lower social rank, for outside matters such as letters, to indicate a change, usually lowering, of dramatic pitch, and to show characters acting out of their natural parts
poetry This language style indicates characters of rank and position
rhyme This language device indicates the end of an act or a scene
Jepthah This bible figure’s desire for personal gain causes him great sacrifice in the loss of a daughter.
Polonius sacrificing Ophelia for his personal gain. The event being foreshadowed through the mention of this bible figure.
Illium Elsinore’s parallel setting from the Tale of Aeneas
Pyrrhus Hamlet’s mirror from the Tale of Aeneas
Hecuba Gertrude’s mirror and foil from The Tale of Aeneas
Priam Claudius’ mirror from The Tale of Aeneas
(1) There will be a pause and distraction first(2) Hamlet will murder Claudius The two events being foreshadowed when “a hideous crash/Takes prisoner Pyrrhus’ ear”
Hamlet “Excellent well; you are a fishmonger”
Polonius “since brevity is the soul of wit.”
Polonius “Though this be madness, yet there is method in it.”
Gertrude “More matter, with less art”
Gertrude “I doubt it is no other but the main; /His father’s death and our o’erhasty marriage.”
Claudius “How may we try it further?”
Hamlet “You could, for a need, study a speech of some dozen or sixteen lines, which I would set down and insert in it, could you not?”
Guildenstern “My lord, we were sent for.”
Voltemand “Fortinbras…receives rebuke from Norway,…and vows…never more/To give assay of arms against your majesty.” Instead, he seeks “quiet pass/Through your dominions’ so that he can attack the Pollacks.
“My lord, that would dishonor him.” Reynaldo
Submission to authority “…as you did command,/I did repel his letters and denied/His access to me.”
disorder; sickness “Lord Hamlet, with his doublet all unbraced;/…Pale as his shirt…/As if he had been loosed out of hell…/he comes before me.”
order vs. chaos “Denmark’s a prison.”
Submission to Authority “But we both obey,/And here give up ourselves, in the full bent/To lay our service freely at your feet,/To be commanded.”
Vengeance “Pyrrhus’ bleeding sword/Now falls on Priam.”
Sickness both mental & physical “…it appears no other thing to me than a foul and pestilent congregation of vapors.”
subjugation of women “O, my lord, my lord, I have been so affrighted!”
entrapment “Be you and I behind an arras then;/[to] Mark the encounter”
vengeance/justice/entrapment “The play’s the thing/Wherein I’ll catch the conscience of the king.”
Facades/Submission to Authority “But let me conjure you, by the rights of our fellowship, by the consonancy of our youth, by the obligation of our ever-preserved love…whether you were sent for, or no?”
submission to authority “Both your majesties/Might, by the sovereign power you have of us,/Put your dread pleasures more into command/Than to entreaty.”
sickness of the soul “What a piece of work is a man! How noble in reason! How infinite in faculty! In form and moving how express and admirable! In action how like an angel! In apprehension how like a god!”

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