PPT-Hamlet: Day 3
Author : liane-varnes | Published Date : 2016-09-11
Advanced A3 B1 and B4 Bell Ringer TWEET ME on your paper In 140 characters or less respond to the following question What would it feel like to return home after
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Hamlet: Day 3: Transcript
Advanced A3 B1 and B4 Bell Ringer TWEET ME on your paper In 140 characters or less respond to the following question What would it feel like to return home after being away for the summer to discover that your father is dead and your mother had already remarried What would your reaction be. 1 miles Megan Strong and Rebekah Chong . Introduction . Throughout the play Hamlet we see the use of soliloquies to allow us into the characters minds and feelings. In this particular soliloquy we see into Hamlet’s feelings towards his mother and the emotional suffering he is feeling from the entire situation. We are able to view how he truly feels and see some foreshadowing of what may occur. . Eric Kroetsch. Instructions. 2. Compose a Hamlet alphabet book complete with illustrations. Example “A is for the anger that Hamlet feels towards his mother and his uncle Claudius”.. A. A is for Avenge. Deen. McKinley. David . Wilkie. . Devon Colquitt. Analysing the elements of form (style, imagery, character, plot, tone, etc.) within a text. The literary work is approached as independent systems with inter-dependent parts.. Hamlet has met up with his one true friend, . Horatio. . They are on their way back to the . castle. . It seems that, while on their way to . England. , . pirates. had attacked the ship Hamlet was on. In the confusion, Hamlet had gotten onto the pirate ship and managed to convince the pirates to bring him back home to . Maha. , . Pranav. , . Kahil. Appearance . vs. Reality and Deception in Hamlet. Certain characters portray themselves to be sincere and truthful however, they are hidden behind masks of falseness that in the end reveal their lies or negative actions. Feminist theory. By: Angie Ellison, Jenny Torres, Minerva Dominguez, and Paulo Fonseca. Feminist . theory: . is the extension of feminism into theoretical, or philosophical . discourse; . it aims to understand the nature of . T.S. ELIOT about HAMLET’S FIGURE. It is . the. Mona Lisa of . literature. (. Hamlet. ). ambiguity. of Hamlet’s figure/Mona Lisa’s figure. According. to Bernard . Berenson. ,. . T.S. Eliot criticised the subjective . by William Shakespeare. Written during the first part of the seventeenth century (probably in 1600 or 1601), . Hamlet. was probably first performed in July 1602.. . Set in . Denmark, during the late medieval period. . Paniz. , Matt, Josh, Erin. Ophelia . Quotation #1 – Act 1, Scene 3. Ophelia:. “I shall the effect of this good lesson keep. As . warchman. to my heart. But good my brother,. Do not, as some ungracious pastors do,. Brendan Salvadore. Mark Mattson. Period 4. Scene Summary. Main Interactions. King and Queen with Rosencrantz and Guildenstern. King Claudius with Polonius. Hamlet’s Soliloquy . Hamlet with Ophelia. Two gravediggers banter while they work. The Graveyard scene, as its known, is rich in black humour. Their mock legal argument provides entertaining comic moments and some light relief. . Hamlet and Horatio arrive and Hamlet meditates on death, decay and the transitory nature of life. Hamlet concludes that death is the great leveller – regardless of social class it cannot be avoided.. vocab. http://people.brandeis.edu/~teuber/earlycrit.html. Swinburne . “The . single characteristic of Hamlet’s innermost nature is by no means irresolution or hesitation or any form of weakness, but rather the strong conflux of contending . 1. 1. What mood is established in this opening scene? How does Shakespeare establish this mood? . The . mood is dark, creepy, and sinister. Shakespeare establishes this mood by setting the opening scene of this tragic play just after midnight. There are three scared watchmen and a skeptical friend of Hamlet’s out on the watch, participating in a ghost-hunt. The audience should feel the tension right away and the cold weather reflects the mood. .
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